WHEN WE SPEAK IN EVERYDAY conversation about the imagination, we often attribute to it powers that are greater than ordinary sensation. But when we are asked to perform the concrete experiment of comparing an imagined object with a perceptual one-that is, of actually stopping, closing our eyes, concentrating on the imagined face or the imagined room, then opening our eyes and comparing its attributes to whatever greets us when we return to the sensory world-we at once reach the opposite conclusion: the imagined object lacks the vitality and vivacity of the perceived; it is in fact these very attributes of vitality and vivacity that enable us to differentiate the actual world present to our senses from the one that we introduce through the exercise of the imagination. Even if, as Jean-Paul Sartre observes, the object we select to imagine in this experiment is the face of a beloved friend, one we know in intricate detail (as Sartre knew the faces of Annie and Pierre), it will be, by comparison with an actually present face, "thin," "dry," "two-dimensional," and "'inert."' It seems that we tend to notice this phenomenon only when we are especially keen on seeing a face, only when we desperately care to have it present in the mind with clarity and force. We then notice the deficiency and, like Proust's Marcel, who berates himself for his inability to picture the face of Albertine or the face of his grandmother, we conclude that the vacuity of our imagining is somehow peculiar to our feeling about this particular person and that there must be a hidden defect in our affection. In fact the vacuity is general, and all that is peculiar or particular to such cases is the intensity of "wishing to imagine" that makes us confront, with more than usual honesty, the fact that we cannot do so. It is when we are soaked with the longing to imagine that we notice, as John Keats confessed, "the fancy cannot cheat so well/As she is fam'd to do."2 By means of the vividness of perceptions, we remain at all moments capable of recovering, of "recognizing" the material world and distinguishing it from our imaginary world, even as we lapse into and out of our gray and ghostly daydreams. Aristotle refers to this grayness as "the feebleness" of images. Sartre calls it their "essential poverty." Of course, insofar as the imagination is enfeebled and impoverished, it is so only on sensory grounds. To complain that the imagined object lacks vivacity and

On Vivacity: The Difference between Daydreaming and Imagining-Under-Authorial-Instruction

Between the Civil War and the First World War, realism was the most prominent form of American fiction. Realist writers of the period include some of America's greatest, such as Henry James, Edith Wharton and Mark Twain, but also many lesser-known writers whose work still speaks to us today, for instance Charles Chesnutt, Zitkala-Sa and Sarah Orne Jewett. Emphasizing realism's historical context, this introduction traces the genre's relationship with powerful, often violent, social conflicts involving race, gender, class and national origin. It also examines how the realist style was created; the necessarily ambiguous relationship between realism produced on the page and reality outside the book; and the different, often contradictory, forms 'realism' took in literary works by different authors. The most accessible yet sophisticated account of American literary realism currently available, this volume will be of great value to students, teachers and readers of the American novel.

The Cambridge Introduction to American Literary Realism

George Bernard Shaw once described the Book of Revelation as “a curious record of the visions of a drug addict,” but then modern literati have had a penchant for unkindness when it comes to the language of the Apocalypse. D. H. Lawrence found what he called its “splendiferous imagery” to be “distasteful,” and hailed it “perhaps the most detestable of all these books of the Bible.” Lawrence hated the book so much that he wrote a commentary on it. In his own monumental commentary on the Apocalypse, writing just a decade earlier than Lawrence, fellow Englishman R. H. Charles understood the book to be a product of linguistic incompetence and redactional ineptitude, egregious travesties that remained until modernity, when Charles corrected them with his own heavy-handed redaction and conjectured emendations.

The Language of Apocalypse

Researchers reference realism in digital games without sufficient specificity. Without clarity about the dimensions of realism, we cannot assess how and when to aim for a higher degree of realism, when lower realism suffices, or when purposeful unrealism is ideal for a game and can benefit player experience (PX). To address this conceptual gap, we conducted a systematic review using thematic synthesis to distinguish between types of realism currently found in the digital games literature. We contribute qualitative themes that showcase contradictory design goals of realism/unrealism. From these themes, we created a framework (i.e., a hierarchical taxonomy and mapping) of realism dimensions in digital games as a conceptual foundation. Our themes and framework enable a workable specificity for designing or analyzing types of realism, equip future work to explore effects of specific realism types on PX, and offer a starting point for similar efforts in non-game applications.

/pdf/much-realistic-such-wow-a-systematic-literature-review-of-2psiaphh.pdf

Much Realistic, Such Wow! A Systematic Literature Review of Realism in Digital Games

https://ir.uiowa.edu/cgi/viewcontent.cgi?article=6899&context=etd

War in the margins: illustrating anti-imperialism in American culture

Documents of Modern Literary Realism

Apocalypse and the Writings on Revelation@@@D. H. Lawrence

Realism in modern literature

Paris under siege, 1870-1871: From the Goncourt journal

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Documents of Modern Literary Realism

Documents of Modern Literary Realism

Apocalypse and the Writings on Revelation@@@D. H. Lawrence

Realism in modern literature

Paris under siege, 1870-1871: From the Goncourt journal