Abstract
This paper explores the fundamentals of the faith-based scientific ideology, scientific realism. The author takes a close look at the ideas and opinions of realists and anti-realists concluding that anti-realists, though many of their criticisms are valid, are often as likely to fall prey to the same lack of critical evaluation that they claim to plague scientific realism.

From the Paper
"Mach's argument could have been improved if he failed to accept contemporary arguments for the existence of sub-molecular particles until evidence existed that proved him wrong. In doing so, he would evoke a methodology in modern thought that many find credible: that which holds that scientific realism lacks the weight of true evidence and is more the matter of opinion than of critical inquiry and objective thought.

Scientific realism is a faith-based scientific ideology, one that maintains that we are warranted in believing in the unseen if it is posited by best explained and most popular scientific theories, which dominate by sheer weight of authority. In this sense it creates a mutualistic error - in trusting the consensus of beliefs among others were are most likely to emulate their mistakes. While mired in dogma, we can't purport to achieve paradigm changes in thought or in reaching a new and better methodology with which to evaluate and comprehend phenomena both material and immaterial. Although the discourse of empiricists remains of interest to us, it must be remembered that every new scientific idea that is posited as contrary to existing beliefs of the nature of science and existence faces not only critical inquiry but also the inertia maintained by generations of adherents that revere even the least factually justifiable ideologies."

Tags:mach, anti-realist, van, frassen, science, critical, thinking

Abstract
This paper explains that each story of Sandra Cisneros' "Woman Hollering Creek" is a lesson in introspection. By using an approach similar to Anton Chekhov, Cisneros uses reflection to create a better life for her double minority Hispanic women. The author points out that Cisneros blends realism and anti-realism throughout her writings, which is an affective approach to obtain an objective outlook. The paper relates that, by showing just what may be needed to endure and overcome thus creating a better life, Cisneros uses Hemingway's theme of endurance and, in a style similar to Franz Kafka's writings, uses negative aspects of her characters and their situations to remove this image from her readers.

From the Paper
"Cisneros' story "Eleven" uses expression through anti-realism more than many of her other works. Using the idealism of an eleven year old child, she projects the childlike belief that life will flow smoothly and be nearly perfect when adulthood is obtained. The antithesis of this ideal belief is that circumstances and scenarios change but the same situations can and do arise in adulthood along with the same feelings of inadequacy experienced by a child. Cisneros uses age progression to relate the theme of her story in much the same way that Hemmingway used age digression in some of his writings. Telling the story of embarrassment from the point of view of a child is an effective way to gain sympathy for the character and identity for the reader. The setting of a classroom is an excellent symbol for American society. While school is supposed to be a great equalizer to children just as our contemporary society is viewed as a racial and gender equalizer, in actuality both fall far short."

Tags:anti-realism, isolation, trapped, descriptions, message

Abstract
The paper discusses how realism is a concept most commonly used in physics, and its definition is "The quality of the universe existing independently of ourselves". The paper explains that since the beginning of history, man has struggled to know his place in the world and how he got here. The paper relates that modern physicists believe matter originates at the moment it is realized; the knowledge that something exists is the beginning of its existence in other words ("realism", n.d.). The paper then explains that pragmatism is defined as man's ability to guide his actions through thought. The paper discusses how pragmatics believe that truth is a test and that man is by the consequences of his personal beliefs ("pragmatism", n.d.).

From the Paper
"Definition: Realism is a concept most commonly used in physics. The definition of realism is "The quality of the universe existing independently of ourselves". Since the beginning of history, man has struggled to know his place in the world and how he got here. Modern physicists believe matter originates at the moment it is realized. The knowledge that something exists is the beginning it its existence in other words. In relation to education realism is focused on the way subjects are organized in a curriculum. Science and Mathematics are the top priority in a curriculum...

Tags:realism, pragmatism, man

Abstract
The paper examines the presence of realism in fiction and uses Russell Banks' novel "Sweet Hereafter" as an example. The paper defines realism in literature and includes the development of characters.

From the Paper
"Realism in fiction presents the reader with the unreality of fiction wrapped in an illusion of reality. Characters, plots and settings are plausible, suggesting that they could actually exist in real life. In most cases, realist authors have derived their stories from actual experiences and issues, so the ring of truth permeates them. Realism enables the reader to engage fully in the story because he perceives it as true."

Tags:Realism, fiction, Russell Banks, Sweet Hereafter, grief, loss

Abstract
This paper examines the film "Citizen Kane" en route to discussing Realism's function in film, in this case, an approach to allow direct communication to an undistracted viewer. Additionally, the paper discusses realism's usefulness to films imparting moralism as is much the case in "Citizen Kane." Some discussion of techniques, details, and relationship to what was occurring in America and the West by the time of World War II, and as the film was shown most in its aftermath.

From the Paper
"This paper examines the role of realism in film, addressing the example of Orson Welles' Citizen Kane that some see as the best film made in Hollywood, a creation of 1941 that was withdrawn during World War II but soon drew wide notice in Europe in the first years after the War ended. One sees that film both allows realism in ways that other media do not, and also employs realism to communicate with audiences that can feel alienated by their society, a film becoming a kind of lifeline in its message that will strike many a viewer as true. In this regard, the viewer..."

Tags:carroll, realism film, citizen kane

Abstract
The paper looks at how Andre Bazin, in his discussion of how the cinematic and photographic media relate to the crisis of realism in Western art in the 19th and 20th centuries, argues that the popular belief that these media objectively reproduce reality gives these media a "credibility" among the general public that transcends that of the other arts. The paper explains the opposing views of Theodore Adorno, who argued that the origins of cinema in industrial production is of prime concern in analyzing the products and effects of this medium, Bazin contends that the "ideal" of the cinematic medium takes precedence over the incidental fact that it was developed by industrialists and business interests. The paper argues that while it is undeniable that film is created in the context of a cultural industry, Bazin's insights regarding the origins of its psychological power over the mass audience are critical to our appreciation of how film can function as a vehicle of both commercial and popular interests. The paper shows, however, how the theoretical perspectives of both Bazin and Adorno are flawed in not considering the complex relationship between cinema and "realism" in terms of style, aesthetics and the role of the author.

From the Paper
"This production by automatic means has radically affected our psychology of the image. The objective nature of photography confers on it a quality of credibility absent all other picture making. . . . (Bazin "Ontology" 13) Andre Bazin, in his discussion of how the cinematic and photographic media relate to the crisis of realism in Western art in the 19th and 20th centuries, argues that the popular belief that these media objectively..."

Tags:film, realism, theory

Abstract
This paper shows how "The Hour of the Star" is an extreme novel, not because it has descriptions or representations that could be considered shockingly excessive or violent, but because it encounters issues and problems, which simply cannot be resolved, such as the role of class and gender in the artistic creation. Moreover, it explains how "The Hour of the Star" is an anti-novel that shows the limitations of the realist novel because much of the novel is about the process of writing and the relationship between the narrator and the story he creates.

From the Paper
"In 'The Hour of the Star', the question of perspective is of great importance because Clarice Lispector, the author, creates a man, a writer, who himself engages in the writing of a story and creates yet another character, a young woman from Northeast. The ontological speculations of the narrator who is self presented as the author and the utilization of a self-conscious narrator who is himself involved in the writing of a book contributes to give this work its peculiar structure, which is open to diverse interpretations. There are several layers of meaning, because the story is about a poor and underdeveloped girl, a fictional author who struggles to tell her story, Lispector's questionings about fictional representation or as the critic Fitz argues, a story about how the middle class views the poor. The narrator's misogynistic point of view shows the difficulty to write for the other, the story of Macabea is also about how the middle class views the poor, and thus, Macabea is a symbol for the underdeveloped Brazil. Finally, an important aspect of the novel is the fact that Macabea is an anti-heroine and The Hour of the Star is an anti-novel because it fells outside the reaflist conventions."

Tags:conscious, layers, meaning, narrator, ontological, realism, reation, self

Abstract
This paper analyzes Yevgeny Zamyatin's use of imagery and symbolism in his masterpiece, the anti-Utopian novel, "We," in an attempt to uncover this relatively unknown Russian writer's contribution to Russian and world literature. After a brief examination of Zamyatin's theory of imagery in terms of his connection to Neo-Realism and Impressionism, the paper proceeds to detail his use of three categories of images: (1) color symbolism; (2) nature images; (2) mathematical symbolism. For each image or symbol, the paper provides an interpretation of its meaning and its significance for the ideas that Zamyatin is presenting in the novel. The paper concludes that Zamyatin's innovative use of this sort of imagery is evidence of his skill as a writer, his mastery of the use of imagery and his insight into human nature.

From the Paper
"Zamyatin associates yellow and its variation, gold, with the Sun, and uses both colors to symbolize "ardent passion, the life-giving force in man" (Shane 1968 157) and to depict "elemental passionate love" (Shane 1968 170). In the scene where I-330 seduces D-503, she is described as having golden eyes, and wearing a saffron dress, and the room is saturated with a golden-rosy sap (life-force) as "a smiling, golden Buddha looks on" (Shane 1968 157). However, in We yellow is "paradoxically, both the color of sunlight and life and also the color of death and decay" (Collins 58). The city's dictator turns out to be an "aging bald-headed man with the enormous yellow parabola on a forehead furrowed by yellow, illegible lines, and clutching a book with his yellow hands, [...] a humorless rationalist" (Collins 58). And just as Zamyatin contrasts red and blue, so he contrasts yellow and blue. The warm golden sun outside the Green Wall is quite a different sun from the light blue one that shines on the rational One State (Shane 1968 157)."

Tags:1984, dystopian, One, State

Abstract
The paper discusses how Charlotte Bronte's "Jane Eyre" presents itself as a novel that lies well within the realist tradition. And yet, a closer reading suggests that Bronte is not quite as committed to realism as she initially appears to be, for we are presented with characters who are less individuals than they are archetypes. The paper also shows that we tend to read this novel as being necessarily a part of the realistic tradition because it so obviously rejects the romantic one. But an anti-romantic novel does not have to be a realistic one.

From the Paper
"Because each of the characters violates Romantic expectations, they have tended to be read as Realistic characters, but a more careful reading of the ways in which gender is represented in the novel suggests that Bronte's strategy has all along been to create highly interpreted characters rather then particularistically limned individuals.
That the novel has a happy ending, for example, comes about directly as a result of the fact that Jane has proven herself to be an entirely angelic character. She is a chaste nurse, more the figure of a daughter than of a lover. She is unsophisticated, unknown in the ways of the world, a childlike figure. She is also dedicated entirely to Rochester; she seeks to have no identity of her own but through him. This is not, one need hardly say, a realistic portrait of an actual woman."

Tags:Enlightenment, Lukacs, Edward, Rochester, Bertha, Mason

Abstract
This paper offers an analysis of expressionism in German film, noting that it changed the canvas of cinema with its technical innovations as well as its impact on Hollywood, not only with its borrowing of ideas, but with the emigration of German actors, writers, and directors to Hollywood. The paper asserts that among the indications of expressionism seem to be anti-heroism, complex philosophical and psychological plots, and primarily urban settings. The paper explains that American films at the same time as this movement in Germany were based in realism, with very distinct ideas of good and bad, comedy, and aesthetics, while German film was seen as highly compound, with thick, perplexing stories that were more solicitous than superficial. The paper concludes that German expressionism is a major film movement which helped mold the face of early cinema, and its impact is seen in many later genres and generations, the horror genre, film noir, and modern day cinema.

From the Paper
"The innovations that came along with this movement are astounding, especially given the modicum of improvement in physical film itself, which one could argue, were brought about by the mass creative and artistic movement expressionism fundamentally is. Some of these technical aspects include a highly subjective and dynamic camera, design innovations including staging and set designs, and being the first movement to actually implement scripting of films (Dilman). Telltale signs of Expressionism is the use of backlighting to create a sense of dimensioeality and montage, splicing the film together to make the story be more seamless and continuous, which was also a style used by the Soviet film movement (Figge, 313)."

Tags:Murnau, film, noir, backlighting