He's adept at creating different realisms and textures for each story line, variations that add layers of meaning.
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He plays with tones, realisms and ideas in "Three Billboards," including the sentimentally redeemed white racist, a character that suggests — despite the rage and invective — that Mr. McDonagh holds out hope for humanity after all.
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Underlying all this is an enthusiasm for Mikhail Bakhtin's idea of the carnivalesque, the comic–grotesque traditions of caricature and expressionism as an essential enlivening agency for work that would resist any and all artistic norms: not only formalism and its many spin-offs, but also Pop's corporate spirit, and the equally "cool", perceptual, photo, and idealist realisms that have flourished in America, Europe and the UK from the mid-sixties on.
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Ellis, Andrew. Socialist Realisms: Soviet Painting 1920–1970. Skira Editore S.p.A., 2012, p.
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By the next decade, there was a unique sense of detachment.Evangeli, Aleksandr. "Echoes of Socialist Realism in Post-Soviet Art", Socialist Realisms: Soviet Painting 1920–1970. Skira Editore S.p.
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Kulturpalast Dresden, Germany Socialist realism was developed by many thousands of artists, across a diverse society, over several decades.Ellis, Andrew. Socialist Realisms: Soviet Painting 1920–1970. Skira Editore S.p.
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He believed that "the sight of a healthy body, intelligent face or friendly smile was essentially life-enhancing."Ellis, Andrew. Socialist Realisms: Soviet Painting 1920–1970. Skira Editore S.p.
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In: Большая российская энциклопедия, 2015, pp. 751—753 The term was approved upon in meetings that included politicians of the highest level, including Stalin himself.Ellis, Andrew. Socialist Realisms: Soviet Painting 1920–1970.
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"Echoes of Socialist Realism in Post-Soviet Art", Socialist Realisms: Soviet Painting 1920–1970. Skira Editore S.p.A., 2012, p. 221 In the decade immediately after the fall of the USSR, artists represented socialist realism and the Soviet legacy as a traumatic event.
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22 By 1928, the Soviet government had enough strength and authority to end private enterprises, thus ending support for fringe groups such as the futurists. At this point, although the term "socialist realism" was not being used, its defining characteristics became the norm.Ellis, Andrew. Socialist Realisms: Soviet Painting 1920–1970.
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It was not until the ultimate fall of Soviet rule that artists were no longer restricted by the deposed Communist Party. Many socialist realism tendencies prevailed until the mid-to-late 1990s and early 2000s.Evangeli, Aleksandr. "Echoes of Socialist Realism in Post-Soviet Art", Socialist Realisms: Soviet Painting 1920–1970.
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University of Illinois Press, 1988, p. 5 The party was of the utmost importance and was always to be favorably featured. The key concepts that developed assured loyalty to the party, "partiinost'" (party- mindedness), "ideinost" (idea- or ideological-content), "klassovost" (class content), "pravdivost" (truthfulness).Ellis, Andrew. Socialist Realisms: Soviet Painting 1920–1970.
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Postclassical realism is an international relations theory term coined by academic Stephen Brooks. It refers to a strand of realist international relations theory scholarship distinguishable to the neorealist scholarship of Kenneth Waltz.Brooks, Stephen, Dueling Realisms, International Organisation, Vol 51, 3, July 1997 pp.445-477 It is also roughly equivalent to defensive realism.
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In 1928, the AKhRR was renamed to Association of Artists of the Revolution (AKhR) in order to include the rest of the Soviet states. At this point the group had begun participating in state promoted mass forms of art like murals, jointly made paintings, advertisement production and textile design.Ellis, Andrew. Socialist Realisms: Soviet Painting 1920–1970.
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Socialist realism was the predominant form of approved art in the Soviet Union from its development in the early 1920s to its eventual fall from official status beginning in the late 1960s until the breakup of the Soviet Union in 1991.Encyclopedia Britannica on-line definition of Socialist RealismEllis, Andrew. Socialist Realisms: Soviet Painting 1920–1970. Skira Editore S.p.
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Realism – or rather realisms – are represented here in their multiple fields: intimate, urban, fantastical or scenery. This section is opened by Amalia Avia and Isabel Quintanilla. The urban iconography of Madrid is represented by Daniel Quintero, José Manuel Ballester, Félix de la Concha and Menéndez Morán. Jesús María Lazkano and Carlos Díez Bustos offer examples of realism as applied to scenery and the fantastical.
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Oxford University Press. p. 534. In this thesis he argued that Georg Wilhelm Friedrich Hegel's position was not opposed to realism and is compatible with "the most realistic of modern realisms, so far as these bear upon the independent existence of the perceived physical universe." Turner defended a form of idealistic monism, which was influenced by Hegel. He has also been described as an exponent of "personalistic theism".
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Krausz, Limits of Rightness, chap. 4,5. He further shows that the contest between singularism and multiplism is detachable from a range of other ontologies that fall under the reconciliatory heading of “constructive realism.”Krausz, Limits of Rightness, chap. 5–9 None of the ontologies in Krausz’s inventory of constructive realisms uniquely entails either singularism or multiplism (and vice versa). Yet Krausz denies that his “detachability thesis” demonstrates that ontology as such is unnecessary for the theory of interpretation.
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Paris: Calmann Lévy, 1887.; His Imperial Highness Prince Napoleon, Napoleon and his detractors translated and edited by Raphael Ledos de Beaufort, London: W H Allen and Co, 1888. His book is not a source in which to check particular facts, but as Goethe wrote: “All of the nimbus, all of the illusions, with which journalists and historians have surrounded Napoleon, vanishes before the awe-inspiring realisms of this book…”.Goethe, Johann Wolfgang von, Letter to G. F. v.
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Unlike other speculative realisms, object- oriented ontology maintains the concept of finitude, whereby relation to an object cannot be translated into direct and complete knowledge of an object. Since all object relations distort their related objects, every relation is said to be an act of translation, with the caveat that no object can perfectly translate another object into its own nomenclature. Object-oriented ontology does not restrict finitude to humanity, however, but extends it to all objects as an inherent limitation of relationality.
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Gray and Kim are close collaborators — they produce each other’s work and often write and edit together — and in interviews tend to use the first-person plural in discussing their movies. Gray began in experimental film and moved toward narrative filmmaking while studying at the British Film Institute in London. Gray has told interviewers that the strongest part of their collaboration is in the editing. He says he was influenced by Argentine writer Julio Cortázar, especially his folk tales and magical realisms.
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A style, which is connected to the political art in the period around 1945, as a minor transition phase between the earlier and more famous Realisms of the 1930s (New Objectivity, Verismo, Precisionism, Magical Realism, etc.) and the abstract painting of the 1950s.Matthias Boeckl: The Colors of Life – Background and context of Soshana's early work in U.S. Modernism, in: Soshana. Life and Work, Springer 2010, p.11 Already the bombings of the London Blitz, had triggered artistic reflections in the drawing of the budding artist Soshana.
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The Brief and Wondrous Life of Oscar Wao contains several of the hallmarks of Latin American Magical Realism. The novel’s plot is intricately bound up with the notion of Fukú Americanus, which is “generally a curse of doom of some kind; specifically, the Curse or Doom of the New World”. The reliance on Fukú, and its counterpart Zafa gives the novel a fantastical element which show magical realisms part in the plot, as the narrative follows the impact of the supernatural curse.The Concise Oxford Dictionary of Literary Terms, 3rd ed.
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In his Reflections on Meta-Reality, he states: > This book articulates the difference between critical realism in its > development and a new philosophical standpoint which I am in the process of > developing, which I have called the philosophy of Meta-Reality. The main departure, it seems, is an emphasis on the shift away from Western dualism to a non-dual model in which emancipation entails "a breakdown, an overcoming, of the duality and separateness between things." However, this move was seen by some to undermine some of early Critical Realisms strongest aspects.
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Literary magic realism originated in Latin America. Writers often traveled between their home country and European cultural hubs, such as Paris or Berlin, and were influenced by the art movement of the time. Cuban writer Alejo Carpentier and Venezuelan Arturo Uslar-Pietri, for example, were strongly influenced by European artistic movements, such as Surrealism, during their stays in Paris in the 1920s and 1930s. One major event that linked painterly and literary magic realisms was the translation and publication of Franz Roh's book into Spanish by Spain's Revista de Occidente in 1927, headed by major literary figure José Ortega y Gasset.
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John Francis Xavier Knasas (born 1948) is an American philosopher. He is a leading existential Thomist in the Neo-Thomist movement, best known for engaging such thinkers as Bernard Lonergan, Alasdair MacIntyre and Jeremy Wilkins in disputes over human cognition to affirm a Thomistic epistemology of direct realismJeremy Wilkins, "A Dialectic of 'Thomist' Realisms: John Knasas and Bernard Lonergan," American Catholic Philosophical Quarterly: Journal of the American Catholic Philosophical Association 78.1 (2004), 107-30John F.X. Knasas, "Why for Lonergan Knowing Cannot Consist in 'Taking a Look'" American Catholic Philosophical Quarterly: Journal of the American Catholic Philosophical Association 78.1 (2004), 131-50.Condic, Samuel B. I, "How a priori Is Lonergan?" Proceedings of the American Catholic Philosophical Association 79 (2005), 103-16.
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Chilean writer Andrea Jeftanovic at the presentation of Macarena Areco's book Cartography of the recent Chilean novel: realisms, experimentalisms, hybridizations and sub-genres , held at the Gabriela Mistral Cultural Center on April 2, 2015 Andrea Jeftanovic (born 1970, in Santiago de Chile) is a Chilean author, sociologist and academic. Jeftanovic was three when the September 11, 1973 Chilean military coup took place and she grew up under Augusto Pinochet's military regime. Jeftanovic has commented that the 17 years of military dictatorship that Chileans lived under had a profound effect on the development of a Chilean identity, by interrupting how Chileans perceive themselves or how the world perceives Chile. She graduated from the Universidad Católica in social science and earned a doctorate in Hispanic- American literature from the University of California, Berkeley.
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It is in precisely these > interstices—the distjunctions between the conventional and the radical > readings of the plot – that the early American sentimental novel flourishes. > It is in the irresolution of Eliza Wharton's dilemma that the novel, as a > genre, differentiates itself from the tract stories of Elizabeth Whitman in > which the novel is grounded and which it ultimately transcends. In Redefining the Political Novel, Sharon M. Harris responds to Cathy Davidson's work by arguing that The Coquette can be understood as a political novel; she writes, "By recognizing and satirizing, first, the political systems that create women's social realisms and, second, the language used to convey those systems to the broader culture, Foster exposes the sexist bases of the new nation's political ideologies." Countering Davidson and Harris, Thomas Joudrey has argued that the novel fortifies obedience to a patriarchal conception of marriage.
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The philosophy began life as what Bhaskar called "transcendental realism" in A Realist Theory of Science (1975), which he extended into the social sciences as critical naturalism in The Possibility of Naturalism (1978). The term "critical realism" is an elision of transcendental realism and critical naturalism, that has been subsequently accepted by Bhaskar after being proposed by others, partly because of its appropriate connotations; Critical Realism shares certain dimensions with Frankfurt School Critical Theory. Critical Realism should not be confused with various other critical realisms, including Georg Lukács' aesthetics, and Alister McGrath's, Scientific Theology (or Theological Critical Realism), although they share common goals. In contemporary critical realist texts "critical realism" is often abbreviated to CR. A later dialectical development of Critical Realism in Bhaskar's work in Dialectic: The Pulse of Freedom (1993) and Plato, etc (1994) led to a separate branch or second phase of CR known as "dialectical critical realism" (DCR).
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Hayward, Susan. "Realism" in Cinema Studies: The Key Concepts (Third Edition). Routledge, 2006. pp. 334–35 Aesthetic realism, which was first called for by French filmmakers in the 1930s and promoted by Andre Bazin in the 1950s, acknowledges that a "film cannot be fixed to mean what it shows", as there are multiple realisms; as such, these filmmakers use location shooting, natural light and non-professional actors to ensure the viewer can make up her/his own choice based on the film, rather than being manipulated into a "preferred reading".Hayward, Susan. "Realism" in Cinema Studies: The Key Concepts (Third Edition). Routledge, 2006. pp. 334–35 Siegfried Kracauer is also notable for arguing that realism is the most important function of cinema.Dudley Andrew, The Major Film Theories: An Introduction, Oxford, New York: Oxford University Press, 1976, Part II. Aesthetic realist filmmakers use long shots, deep focus and eye-level 90 degree shots to reduce manipulation of what the viewer sees.Hayward, Susan. "Realism" in Cinema Studies: The Key Concepts (Third Edition). Routledge, 2006. pp.
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Through an examination of psychoanalysis and psychometry of art, Newton has evolved a series of paintings related to primitive manic states; isolation; disassociation; loss; fear; loneliness and supplication. Art critic Mel Gooding described Newton’s paintings as a “psycho- conceptual project”. His work has been exhibited across the UK in exhibitions which include: ‘Stephen Newton: Abstract Realisms’ Art Bermondsey Project Space, London (2016), ‘Stephen Newton Retrospective’ Abbey Walk Gallery, Grimsby (2015), ‘Etchings 1997-2000’ Jesmond Dene House, Newcastle (2005), ‘Etchings and Paintings 1997-2000’ Cooper Gallery, Duncan of Jordanstone College of Art and Design, University of Dundee (2001), ‘Stephen Newton: Solo Show’, Stanley Picker Gallery, Kingston University, London (1998), ‘Contemporary British Painting’ Huddersfield Art Gallery (2014), ‘@paintbritain’, Ipswich Art Gallery and Museum (2014) and ‘Images of Working Class Life’, Viking Gallery, Jarrow (1998). A number of art museums have acquired work by Newton, including Abbot Hall Art Gallery, Madison Museum of Fine Art, Rugby Art Gallery and Museum and Swindon Art Gallery Newton has written two books; ‘Painting, Psychoanalysis, and Spirituality’ published by Cambridge University Press (2001) and ‘Art & Ritual: A Painter's Journey’ published by Ziggurat Books International (2008).
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