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Civil rites of passage
Sharon Monteith

follow realistic conventions in ‘authenticating’ rather than re-visioning the Civil Rights Movement. Critical realism is not inevitably the most effective way of representing recent history in ways that continue to touch the popular imagination though, as television has shown. However, many working in history and cinema still betray in their work on film a reductive focus on fidelity – even historians David

in Memory and popular film
Nick Randall

imperatives may prompt reassessment of an existing ideological commitment but the substantive shaping of the new commitment may be better understood by reference to the institutional dynamics of the party. Secondly, the ontological foundations of an alternative model – its theory of reality – should be considered. Here critical realist theory overrides the rigid dualism between structure and agency, identified above. (A full account of this perspective cannot be offered here; see Archer 1995; Bhaskar 1997; Marsh et al. 1997). Suffice it to say that critical realism views

in Interpreting the Labour Party
Heikki Patomäki

the basics of the critical realist alternative, see Heikki Patomäki, ‘How to Tell Better Stories About World Politics’, European Journal of International Relations , vol. 2, no. 1 (1996); and Heikki Patomäki and Colin Wight, ‘After Post-Positivism: The Promise of Critical Realism’, International Studies Quarterly , vol. 44, no. 2 (June 2000

in Mapping European security after Kosovo
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Disability in working-class coalfields literature
Kirsti Bohata, Alexandra Jones, Mike Mantin, and Steven Thompson

literature is to act as a nexus via which a range of different forces – economic, social, political, medical – are brought into contact or revealed to underpin the wider social and economic ‘disqualification’ of the industrial working class.32 Writing about nineteenth-century ‘critical realism’,33 Georg Lukács identifies the importance of a ‘typical’ character, a ‘type’ that interacts with different forces within the text: The ‘centre’ figure need not represent an ‘average man’ but is rather the product of a particular social and personal environment. The problem is to

in Disability in industrial Britain