Rejection Of Realism Research Articles

Dendrogramic Representation of Data: CHSH Violation vs. Nonergodicity.

This paper is devoted to the foundational problems of dendrogramic holographic theory (DH theory). We used the ontic–epistemic (implicate–explicate order) methodology. The epistemic counterpart is based on the representation of data by dendrograms constructed with hierarchic clustering algorithms. The ontic universe is described as a p-adic tree; it is zero-dimensional, totally disconnected, disordered, and bounded (in p-adic ultrametric spaces). Classical–quantum interrelations lose their sharpness; generally, simple dendrograms are “more quantum” than complex ones. We used the CHSH inequality as a measure of quantum-likeness. We demonstrate that it can be violated by classical experimental data represented by dendrograms. The seed of this violation is neither nonlocality nor a rejection of realism, but the nonergodicity of dendrogramic time series. Generally, the violation of ergodicity is one of the basic features of DH theory. The dendrogramic representation leads to the local realistic model that violates the CHSH inequality. We also considered DH theory for Minkowski geometry and monitored the dependence of CHSH violation and nonergodicity on geometry, as well as a Lorentz transformation of data.

The Linguistic Idealism Question: Wittgenstein’s Method and his Rejection of Realism

Abstract After the publication of Wittgenstein’s posthumous work the question was raised whether that work involved idealist tendencies. The debate also engaged Wittgenstein’s immediate students. Resistance to presumed idealist positions had been ideologically central to G.E. Moore, Bertrand Russell and other representatives of realism and early analytic philosophy. While Wittgenstein disagreed with them in key respects, he accepted their tendentious definition of ‘idealism’ at face value and bequeathed it to his students. The greatest flaw in the Realists’ view on idealism was their assumption of symmetry between realist and idealist approaches. For Realists, the chief task of philosophy was to establish what kinds of thing exist, and they took Idealists to offer an alternative account of that. However, the Idealists’ guiding concern was rather to investigate the subjective conditions of knowledge. In this respect, Wittgenstein’s conception of philosophical method was closer to theirs than to that of the Realists. This is especially obvious in his rejection of Moore’s idea of immediate knowledge. Ultimately, the trouble with Wittgenstein was not that he endorsed any kind of idealist ontology. It was his refusal to deliver the expected realist ontological messages on the supposed question of whether reality is independent of language or otherwise.

Sui Sin Far's Genre of Intervention: The Sketch and the "Real" in Realism and Naturalism

Sui Sin Far's Genre of InterventionThe Sketch and the "Real" in Realism and Naturalism Monique McDade (bio) In "The Inferior Woman," the second sketch to appear in Sui Sin Far's (Edith Maude Eaton) 1912 collection, Mrs. Spring Fragrance, Mrs. Spring Fragrance contemplates writing a book about Americans. "As she walked along," Sui Sin Far writes, "she meditated upon a book which she had some notion of writing. Many American women wrote books. Why should not a Chinese" (28)? Thus, Sui Sin Far begins by questioning the imbalance in American literary representative power. Her seemingly simple question—"Why should not a Chinese?"—points to the deep-rooted prejudices that recognized minority Americans as subjects rather than authors of American literature. Mrs. Spring Fragrance determines her "first subject will be 'The Inferior Woman of America'" (34), a figure who represents the nineteenth-century's New Woman and through whom Mrs. Spring Fragrance hopes to unveil what makes Americans "so interesting and mysterious" (28). The act of writing is, as Mrs. Spring Fragrance understands from dominant examples, an act of exposure and of making sense out of the "mysterious." "The Inferior Woman" is a story with overlapping layers. While the story points out the imbalanced relationships in representative power, it also critiques the ways dominant literatures portend to tell the "real" and "true" experiences of their subjects. To learn about the "mysterious" "Inferior Woman" and to collect material for her book, Mrs. Spring Fragrance secretly observes a conversation between the "Superior Woman," a woman who represents the era's feminine ideal, and her mother about the "Inferior Woman." Observation—a literary strategy deployed by Sui Sin Far's realist and naturalist contemporaries—is reconfigured here to expose the exploitation and unwilling participation of their literary subjects. In the process of connecting seemingly disparate global intimacies of labor and mobility, Lisa Lowe explains that '"intimacy as interiority,"' as opposed to [End Page 78] the dominant meaning of intimacy as an individual's sexual experiences, "is elaborated in the philosophical tradition in which the liberal subject observes, examines, and comes to possess knowledge of self and others. Philosophy elaborates this subject with interiority, who apprehends and judges the field of people, land, and things, as the definition of the human being" (21). Observation and interpretation become the mark of "the human being," further suggesting that those who observe are not observed themselves and that, quite the opposite, those observed cannot be observers. Lowe challenges this foundational liberal philosophy to argue that "this sense of intimacy" is a "particular fiction that depends on . . . the circuits, connections, associations, and mixings of differentially laboring peoples, eclipsed by the operations that universalize the Anglo-American liberal individual" (21). Lowe's framework for evaluating intimacy helps us to see the complex "circuits, connections, associations, and mixings" between Sui Sin Far's Anglo-American and Chinese characters as they stand in opposition to the often one-dimensional and flattened characters in the era's realist and naturalist texts. By reading Sui Sin Far's sketches for their network of intimacies, we can better identify the overlapping histories and cultural knowledges that Sui Sin Far brings to light through her rejection of realism's and naturalism's observational, and supposedly objective, literary qualities. Importantly, Sui Sin Far shows how even a book about a social outlier like the "Inferior Woman" is filtered through the gaze of dominant, "respectable" society. Rather than observing the "Inferior Woman" directly, Mrs. Spring Fragrance listens in on a conversation between the "Superior Woman" and her mother. The two women contemplate the ways in which the "Inferior Woman" "does not compare with" the "Superior Woman" (36). What is supposed to be an objective, observational account of the "Inferior Woman" is actually an observational account of the dominant society's prejudice towards her. Although the story starts off with Mrs. Spring Fragrance's determination to write a book in defense of the "Inferior Woman," this overheard conversation leads Mrs. Spring Fragrance to declare to her husband: '"I love well the Inferior Woman; but, O Great Man, when we have a daughter, may Heaven ordain that she walk in the groove of the Superior Woman'" (41). Even...

The Discarded Mind: From Divine Ideas to Secular Concepts

Summary This article proposes an overdue corrective to declinist genealogies of modernity that trace a trajectory from the participatory ontology of late-antique and high-scholastic metaphysics – in which created reality is taken to exemplify patterns in God’s creative blueprint – to a nominalist ontology of discrete, singular particulars whose unity and intelligibility is grounded only in the linguistic capacities of the human subject. It does so by advancing two connected historical claims. First, the shift should be understood less in terms of the substitution of universals for vocal signifiers, as historical accounts of the rise of nominalism have tended to argue, but rather in terms of the slow substitution of divine ideas for human concepts. Second, from the earliest origins of the split between continental and analytic philosophy, the shift from divine intellectualism to secular conceptualism generated sceptical threats both for the phenomenological tradition – crystallized most dramatically in the dilemma of ‘correlationism’ that variously occupies Husserl, Merleau-Ponty, and Quentin Meillassoux – but equally acutely for analytic metaphysics, from Frege’s concepts and Russell’s universals to Michael Dummett’s semantic verificationism. The article concludes that for all the differences between these stances, they are forms of ersatz participatory realism that each endorse an intellectualist account of reality free of the theological commitments that once underpinned it, even though this came at the cost of a wholesale rejection of realism.

The Influence of Sartre’s “What Is Literature?” on David Foster Wallace’s Literary Project

ABSTRACT This article argues that Sartre’s “What Is Literature?” had a profound and direct influence on David Foster Wallace’s conception of literature. At the very least, a number of factors oblige scholars to take this interpretation seriously. We know that Sartre’s existentialism pervades Wallace’s fiction, that Wallace repeatedly mentioned the Existentialists throughout his work, that he’d learned French to read them in the original, and that Sartre was one of his favorites, as testified by Zadie Smith. Most importantly, a comparative analysis of Sartre’s text and Wallace’s nonfiction shows not only striking parallels but also almost exact repetitions in the writers’ fundamental ideals. In this sense, Sartre’s direct influence on Wallace appears so major as to invest multiple specific details of Wallace’s conception of literature both in its content and in the logical structuring of that content. In this article, we explore the extent of this influence through a structured investigation of its multiple features, showing that many of Wallace’s tenets – the rejection of Realism, the affirmation of meaning-as-use and of literature as a means to human communion and individual and social engagement, and many many more – follow from Sartre’s discourse.

Mariana Morawskiego koncepcja wychowania do życia w państwie

Marian Morawski pessimistically evaluated the development seen within the second half of the 19th century. He criticized socialism and liberalism, idealism and materialism. He drew attention to the cult of technology and hard work. He predicted that this kind of civilization would lead to war. Philosophy was responsible for this dangerous turn because of its rejection of realism and common sense. Education for life in the state requires a realistic philosophy, which develops morality and a critical approach to reality.

The Persistence of Realism

The Persistence of Realism Ulka Anjaria (bio) A review of Fredric Jameson, The Antinomies of Realism. New York: Verso, 2013. Against the myriad negative definitions of realism advanced by scholars—realism as not naturalism, romance, modernism—Fredric Jameson suggests a dialectical model in which realism emerges by means of its opposites: at one end, from récit, “the narrative situation itself and the telling of a tale as such” (10) and, at the other, from “the realm of affect,” in which the present overshadows other temporalities “with impulses of scenic elaboration, description and above all affective investment” (11). These antagonistic forces—narrative and affect—are constantly at play in the continuous production of realism, not reconciling in individual texts but appearing as contradictory pressures productive of meaning. This provocative approach proceeds beyond the analysis of individual texts to grasp realism as a whole, a level of theorization often absent from readings specific to one place or historical period. In Part I, Jameson elaborates the nature of these opposing forces in more detail. Récit, he reminds us in Chapter 1, is not only a naïve reliance on a Barthesian preterite, but any acceptance of underlying narrative motivations such as destiny or fate, “the mark of irrevocable time, of the event that has happened once and for all” (21). Yet even when realism appears indebted to this narrative logic, time past begins to shift to time present in the course of its telling. As this shift occurs “from tale to daily life” (27), we see realism distinguish itself from its narrative predecessors; however, the pressure to fall back into the preterite—to make destiny operative in the narrative sense—continues to haunt the mode, and is thus constitutive of realism itself. Chapter 2 initiates a discussion of the other side of realism—its perceived dissolution into modernism, or the “perpetual present,” which Jameson sees more productively for its affective rather than solely temporal dimension. This is affect as opposed to emotion; while the latter can be named, affect “somehow eludes language” (29). The tension between “the system of named emotions” and “the emergence of nameless bodily states” (32) is visible in Balzac and Flaubert; thus Jameson offers a refreshing new perspective on the Lukácsian distinction between realism and naturalism by rewriting it as between an allegorical and an affective impulse. (Although Jameson does not engage extensively with Lukács, the Hungarian philosopher seems to be his primary interlocutor throughout the book.) Jameson’s focus on intensity rather than essence is also useful for thinking about music and the plastic arts. The discussion of affect leads to a compelling rereading of Zola outside the general disdain of his writing in studies of realism following Lukács. When read in light of the antinomies of realism, Zola’s “sensory overload” is not a rejection of realism but a consideration of “the temporality of destiny when it is drawn into the force field of affect and distorted out of recognition by the latter” (46). Zola’s description, unlike Balzac’s, does not stand outside of time but is subject to it, compiling an aesthetic critique of the affective nature of capitalism. This makes him closer to Tolstoy than Lukács is willing to allow—Tolstoy whose “anti-political” novels revolve around a variety of moods, a “ceaseless variability from elation to hostility, from sympathy to generosity and then to suspicion, and finally to disappointment and indifference” (85). For Jameson, these moods are not contingent elements of War and Peace’s narrative but constitute its very realism, particularly as they surface in tension with the novel’s inordinate number of characters who, despite Tolstoy’s realist promise, do not function as a unity but as a heterogeneity, “held together by a body and a name” (89). It is as if Tolstoy found himself constantly distracted, eager to move from one character to another—and this movement ends up forming a new aesthetic that “effaces the very category of protagonicity as such” (90). The depletion of protagonicity becomes central to the realism of Spanish novelist Benito Pérez Galdós, whose protagonists constitute the background of his novels, and “whose foreground is increasingly occupied...

A Distant Mirror: Engaging with Realism from the Sidelines

This article revisits the critique of realism by Marxist and structuralist critics of the 1960s, particularly Althusser and Barthes. It expounds Althusser’s theory that, rather than providing knowledge of society or history, the text makes ideology visible. It distinguishes the different currents that converged to form Barthes’s structuralism (as mobilized in his study of Racine): the nouvelle critique; a certain reading of Saussure’s theory of language; and Lévi-Strauss’s anthropology. It describes Barthes’s critique of the circular procedures involved in the belief in psychological realism. It explains why Barthes was not on the whole disposed to tolerate realism among the variety of acceptable theories. It casts doubt, however, on the validity of Barthes’s appropriation of Saussure, in the light of Benveniste’s distinction between semantic and semiological functions of language. Barthes’s rejection of realism finally depends on his notion of écriture, as a set of writing conventions conditioning representation. Barthes’s later critique of realism in S/Z is then described. He sees realism as an essentially oppressive conception: Prendergast’s rehabilitation of mimesis, however, allows its critical potential to reappear, and this is shown with reference to the novels of Marivaux and Rousseau, where apparent infractions of vraisemblance are used to challenge reader’s social and ethical assumptions. In conclusion, the emancipatory potential of the critique of realism is acknowledged, as are its limitations.

Introduction: Two interventions on realism

There is a rejection of realism in literary studies which seems to go without saying – or without argument. To think that language could be a simple reflection of the world! How naive, and how stup...

L'esthétique du laid, de Hegel à Rosenkranz. Une « esthétique de la résistance » ou de la résignation aux « arts qui ne sont plus beaux » ?

At the time of the Enlightenment, the ugly becomes an object of aesthetic concern, due to the influence of Diderot and Lessing, hence announcing the Wirkungsasthetik, an « aesthetics of effect », of the sublime and the pathetic. Nevertheless, in 1797 Schlegel states that there still has been no known attempt at a theory of the ugly. This gap is filled by Hegel’s disciples, who under the influence of Hegelian dialectics make the ugly an integral part of the beautiful, therefore bestowing it with great importance. As well as Christian Hermann Weise, who devotes himself to elaborating the ugly in his System der Asthetik als Wissenschaft von der Idee der Schonheit (1830), Friedrich Theodor Vischer and Arnold Ruge adopt a definite position on the matter of ugliness and Karl Rosenkranz even dedicates an Aesthetics of the Ugly to the question. This aesthetics of the ugly is conceived as an answer to the historical upheavals and failure of revolutionary hope after 1848. We demonstrate especially how Rosenkranz extends and deepens the analysis of the expressive potential of the ugly established by Lessing and Schlegel, but we will particularly ask if he really questions the idealist approach to this aesthetic category and if he gives the ugly a specific value or whether he doesn’t instead instrumentalize the ugly in order to condemn the capitalist order, to denounce the social upheavals between 1830 and 1860 and to express his rejection of realism.

Nonlocality as well as rejection of realism are only sufficient (but non-necessary!) conditions for violation of Bell’s inequality

In this review we remind the viewpoint that violation of Bell’s inequality might be interpreted not only as an evidence of the alternative – either nonlocality or “death of reality” (under the assumption the quantum mechanics is incomplete). Violation of Bell’s type inequalities is a well known sufficient condition of probabilistic incompatibility of random variables – impossibility to realize them on a single probability space. Thus, in fact, we should take into account an additional interpretation of violation of Bell’s inequality – a few pairs of random variables (two-dimensional vector variables) involved in the EPR–Bohm experiment are incompatible. They could not be realized on a single Kolmogorov probability space. Thus, one can choose between: (a) completeness of quantum mechanics; (b) nonlocality; (c) “ death of reality”; (d) non-Kolmogorovness. In any event, violation of Bell’s inequality has a variety of possible interpretations. Hence, it could not be used to obtain the definite conclusion on the relation between quantum and classical models.

Proust at the Movies by Martine Beugnet, Marion Schmid

244 Reviews Proust et lemoi divise is chronologically structured by developments in experi mental psychology. If occasionally we may feelwe are losing sight of Proust, this is compensated for in theway the psychoanalytic dimension is used to inform the discussion elsewhere. It is a two-part studywhich firstlybrings together case-study observations and certain subjective experiences narrated in theRecherche in order then toconsider the treatmentProust himself followed under doctor Sollier. Called at the time 'un traitementmoral', thiswas in fact a firstinstance of a course of psycho analysis. As Bizub emphasizes, Proustian scholarship has given littleattention to this programme of treatment.He argues thatProust's knowledge of experimental psy chology determines thenature of the privileged moments inhis narrative, moments atwhich another self takes centre stage. The Narrator's search is foranother buried and forgotten selfwithin him which resurges during these privileged moments and which Bizub equates with theother self evidenced in themedical cases and likened to a state of sleepwalking. This other 'moi' which haunts Proust's work, Bizub argues, will in factbe the hidden writer within him, the discovery ofwhich constitutes the central theme of A la recherchedu tempsperdu. Bizub's book will be of interest to Proustian scholars aswell as awider audience with an interest in thehistory of ideas. Itwill appeal alike to thosewith a specialist and a non-specialist knowledge of psy choanalysis, as terminology isgenerally well explained. UNIVERSITY OF EDINBURGH SARAH JOSEPH Proust at theMovies. By MARTINE BEUGNET and MARION SCHMID. (Studies in Euro pean Cultural Transition, 3 I)Aldershot: Ashgate. 2004. viii + 26 ipp.; I2 plates. ?50. ISBN 978-0-7546-3541-3. This lucid and stimulating book is the resultof a collaboration between twocolleagues from theUniversity ofEdinburgh, specialists inFilm Studies and Proust respectively. Adopting a genuinely multi-disciplinary approach, it represents the firstsystematic exploration of this topic and consists of a series of self-contained but interconnecting chapters dealing, firstly, with the relationship between Proust and the cinema and, secondly,with specific filmadaptations and evocations of his work. The opening chapter examines themany interconnections between Proust's writ ing and what in 1923, the year after his death, was coined the 'seventh art', both ofwhich are placed firmly within the context ofmodernism's rejection of realism. Indeed, as the authors explain, it is a paradox thatProust should accuse the cinema of being slavishlymimetic, as he does, forexample, inLe Temps retrouve, when con temporary film-makerswere in factconstantly exploring new techniques inways that often paralleled his own radical reworkings. Concurrences perceptively examined in this chapter include techniques of subversion, the use of images, and ways of ren dering the subjectivity of time,with a pertinent analogy being made with Deleuze's concept of the 'time-image' (p. 43). The second chapter thenanalyses indetail the two failed and very different 'grands projets' of filmingProust initiated byVisconti and Losey in the I970s and gives a fascinating insight into, firstly,thepersonal and artistic preoccupations which caused these two directors to foreground certain themes and, secondly, thevarious cinematic techniques theywould have used inorder to transfer Proust to the screen. There follows a series of chapters on theway inwhich a number of directors have taken on what one critic has described as the 'pari un peu fou' (quoted on page 28) of filmingProust. The incisive analysis ofVolker Schl6ndorff's Un Amour de Swann of I984 is unusual in largely rehabilitating what it describes as an 'uncertain, but possibly underrated' film (p. I3 3), including, in particular, itsmuch-criticized pre sentation of gender. The discussion of Raoul Ruiz's I999 filmof Le Temps retrouve MLR, I02.I, 2007 245 then considers the suggestive contrast between the heritage-piece marketing of the filmand itscollation of amultiplicity of styles, including the intertextual dimension of surrealism, while inChantal Akerman's 2000 filmLa Captive, a study of pathological jealousy, the freestand yet closest Proustian adaptation todate (p. 172), the intertext is the cinema of obsession, including the thriller and the filmnoir. This last film is convincingly characterized as an example of a cinema of 'differance' in itsquestioning of traditional sets of binary oppositions (p. 204). A furtherchapter looksmore briefly at two filmsby Italian director Fabio Carpi, Quartetto Basileus and Le intermittenze del cuore,which present a...

The Vanguard of Modernity: Richard Wright's The Outsider

When Richard Wright became nationally known through publication of Native Son in 1940, he had already assumed a central place in radical political culture of international communist movement.1 Moreover Native Son and Black Boy influenced existentialist philosophy of Simone de Beauvoir and Jean-Paul Sartre, who shared Wright's emphasis on alienated consciousness.2 During 1940s Wright's public affiliations continued to move away from American scene that had formed context for his early writing. He resigned from Communist Party in 1944, citing its control of his political and aesthetic decisions; he formed connections with leaders of PanAfrican movement, including C. L. R. James and George Padmore;3 and in 1946, he moved his family from New York to Paris to escape American racism and intrusion by FBI.4 From his exile in France, Wright produced an ambitious analysis of modern West in a series of works published between 1953 and 1958: The Outsider (1953), Savage Holiday (1954), Black Power (1954), The Color Curtain (1956), Pagan Spain (1957), White Man, Listen! (1957), and The Long Dream (1958). Together they offer a wide-ranging analysis of Europe's colonial adventure and its impact on European and non-European peoples alike, integrating philosophical and psychological factors with political, economic, and cultural ones. The Outsider, with its existentialist concerns, rejection of realism, and attacks on Communist Party leaders and methods, marks Wright's transition toward a postwar stance of internationalism, nonalignment, and anticolonial analysis of modern West. Wright described his exile as more than a geographical change. It was a break with my former attitudes as a Negro and a Communist. ... I was trying to grapple with big problem problem and meaning of Western civilization as a whole and relation of Negroes and other minority groups to it.5 The Outsider examines philosophical and psychological forms of alienation shaping quintessentially modern agent, mob. During early cold war years, concept of the mob suggested

Realism or Locality: Which Should We Abandon?

We reconsider the consequences of the observed violations of Bell's inequalities. Two common responses to these violations are (i) the rejection of realism and the retention of locality and (ii) the rejection of locality and the retention of realism. Here we critique response (i). We argue that locality contains an implicit form of realism, since in a worldview that embraces locality, spacetime, with its usual, fixed topology, has properties independent of measurement. Hence we argue that response (i) is incomplete, in that its rejection of realism is only partial.

Theories for theorists or theories for practice? Liberating academic accounting research?

Concurs with much of Humphrey and Scapens’ opinions about promoting eclecticism in theory, but takes issues with points made about the nature of theory. Asserts that they fail to build on the “conditions of possibility” inherent in practice by their rejection of realism. Looks at the use of accounting in the public sector, and the apparent paradoxes found by Humphrey and Scapens, using the NHS as a case example. Concludes that liberating accounting should look beyond the eclectic use of social theories towards more practical interventions.

From Naturalism To The Dream Play: A Study Of The Evolution Of Strindberg's Unique Theatrical Form

IF WE TRACE THE EVOLUTION of Strindberg's theatrical form, we have a perfect model of the contemporary dramatist's rejection of realism and return to stylized theater. His career offers a typical pattern: naturalism, symbolic naturalism, and, finally, the completely artificial structure of the poetic dream play. His work mirrors the kind of modern sensibility that has been the main impetus of theatrical experiments in our century. His genius in expressing this modern sensibility influenced such people as Kafka and Pirandello and continues to influence anyone involved with contemporary drama. To observe the transformations that Strindberg made in the prevailing dramaturgical form, we have to understand the way he used naturalism. Since almost all of his voluminous works are in some way autobiographical, it is also necessary to start with some kind of assessment of Strindberg's egocentricity and his mania for self-revelation. It is this aspect of personality which prevented him from viewing naturalism in the strictly objective, scientific terms in which it was conceived.

Science and the rejection of realism in art

A rejection of representational realism characterizes much of Western art after 1850. And various inquirers have sought to found this rejection in the desire of recent artists for a new kind of audience an audience that would admire the artist not because he succeeded in reproducing the familiar world of everyday experience, but because through his genius he created a pure art-world independent of everyday experience. However, many serious students of contemporary arts have been offended by this type of explanation. They have, indeed, gone so far as to condemn all socio-aesthetic analysis which is patterned after that of Ortega Y Gasset. For, in their view, such analysis ends by denying the integrity of the whole body of recent art. No result save this is possible, these students assert, when an analysis begins with the assumption that poet and painter alter their styles solely because they refuse to tolerate a philistine audience which does not appreciate the technical imagination of the artist. Now it can be admitted that this assumption seems unlikely to provide a thoroughly adequate analysis of the motives of artists in the period in question. But precisely what an adequate analysis of motives would consist of is unclear. The defenders of the integrity of the modern artist set forth their own in generalities. They aver that the artist alters his mode of expression in the direction of difficulty or even obscurity because he feels that older modes are inadequate for the presentation of his dis coveries in an unexplored range of experience. And hence we are to conclude for ourselves that the modern artist's flight from simple repre sentational realism (and from the analogues of this style in verse and music) has been in some measure a result of a new conviction that truly realistic interpretation of human experience was impossible in that mode of art. But what was the source of this conviction? If it were possible to find one which, in its finality, excluded all others, the entire dispute might end