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Literary realism is a literary genre, part of the broader realism in arts, that attempts to represent subject-matter truthfully, avoiding speculative fiction and supernatural elements. It originated with the realist art movement that began with mid- nineteenth-century French literature ( Stendhal ) and Russian literature ( Alexander Pushkin ...
In analytic philosophy, anti-realism is the position that the truth of a statement rests on its demonstrability through internal logic mechanisms, such as the context principle or intuitionistic logic, in direct opposition to the realist notion that the truth of a statement rests on its correspondence to an external, independent reality. [1]
Literary movements are a way to divide literature into categories of similar philosophical, topical, or aesthetic features, as opposed to divisions by genre or period. Like other categorizations, literary movements provide language for comparing and discussing literary works. These terms are helpful for curricula or anthologies. [1]
Literary fiction is a term that distinguishes certain fictional works that possess commonly held qualities to readers outside genre fiction. [citation needed] Literary fiction is any fiction that attempts to engage with one or more truths or questions, hence relevant to a broad scope of humanity as a form of expression.
Irrealism is a term that has been used by various writers in the fields of philosophy, literature, and art to denote specific modes of unreality and/or the problems in concretely defining reality. While in philosophy the term specifically refers to a position put forward by the American philosopher Nelson Goodman , in literature and art it ...
It is opposed to realist philosophies, such as Platonic realism, which assert that universals do exist over and above particulars, and to the hylomorphic substance theory of Aristotle, which asserts that universals are immanently real within them; however, the name "nominalism" emerged from debates in medieval philosophy with Roscellinus.
Whereas romance and realism had traditionally been contradictory modes of literature, they were brought together in sensation fictionof the Victorian era – combining "romance and realism" in a way that "strains both modes to the limit". [72] [73] The loss of identity is seen in many sensation fiction stories because this was a common social ...
[60] [62] Karl Popper splits the ambiguous term realism into essentialism and realism. He uses essentialism whenever he means the opposite of nominalism, and realism only as opposed to idealism. Popper himself is a realist as opposed to an idealist, but a methodological nominalist as opposed to an essentialist.