Relevant bibliographies by topics / Neorealism

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Neorealism'

Author: Grafiati
Published: 4 June 2021
Last updated: 22 June 2024

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Journal articles on the topic "Neorealism"

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Popova, Liana Vladimirovna. "Myth and reality in the work of Italian neorealists." Культура и искусство, no. 3 (March 2024): 153–64. http://dx.doi.org/10.7256/2454-0625.2024.3.70172.

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The object of research is Italian neorealism of the 1940-1950s. The subject of research is the work of neorealist directors Roberto Rossellini, Cesare Zavattini, Giuseppe de Santis, Vittorio de Sica, Alberto Latuada. Features of neorealism are also inherent in the early work of directors Luchino Visconti («Obsession» 1943, «Earth Trembles» 1948), Federico Fellini («The Road» 1954, «Nights of Cabiria» 1957), Piero Paolo Pasolini («Accatone» 1961, «Mama Roma» 1962), Michelangelo Antonioni «People from the Po River» 1947). Neorealism develops under the influence of French poetic realism, as well as, under the influence of verism, especially, the work of L. Pirandello. The focus of the neorealists was a person in interaction with society, the environment. The purpose of this study is to consider the features of realism and neorealism, to consider the space created by directors. This study uses various research methods - phenomenological, intertextual, comparative, hermeneutic, content analysis in their combination and complementarity. The scientific novelty of this study lies in the opposition of mythological and real space in the films of Italian directors, as well as in the application of an integrated approach. The main conclusion of this study is the thesis that myth and reality in the work of Italian neorealists interact with each other. Despite the documentary approach to filming, neorealists create their own, special reality, turn to history and myth. The concept of "neorealism" is quite complex, many of its representatives called themselves realists. The focus of neorealism becomes a person in interaction with society, with the environment. As the principles of neorealism, one can single out chorality, that is, the interaction of people. A separate feature of neorealism is the appeal to fantasy. F. Fellini and M. Antonioni open a new chapter in the history of Italian cinema.
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Kartal, Esma. "Defining Italian Neorealism: A Compulsory Movement." CINEJ Cinema Journal 2, no. 2 (June 10, 2013): 140–48. http://dx.doi.org/10.5195/cinej.2013.73.

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Being one of the most influential cinematic movements in film history, Italian neorealism has not been very easy to define. Although one can easily recognize a neorealist film, not all neorealist films share the exact same characteristics. In this paper, four films that have often been labeled as neorealist will be discussed in light of their makers’ views on neorealism and the general characteristics of neorealism as a movement. These films are Roberto Rossellini’s Germania anno zero (1948), Vittorio De Sica’s Ladri di biciclette (1948) and Umberto D. (1952), and lastly Federico Fellini’s La strada (1954).
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Freire, Lucas G. "Is Neorealism a Deterministic Theory of International Relations?" International Studies 56, no. 1 (January 2019): 58–67. http://dx.doi.org/10.1177/0020881718824760.

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This article is a contribution to the clarification of the central claim of Kenneth Waltz’s neorealist international relations theory. Over the years, the notion that Waltz’s Theory of International Politics postulates a deterministic connection between the configuration of the structure of the international system and the behaviour of each of the units has gained traction in textbooks and in straw-man critiques of the neorealist approach. Two major groups of critics of neorealism’s alleged determinism have formed. The first group focuses on instances where predicted balancing behaviour did not occur in order to refute neorealism’s central claim about the link between structure and behaviour. The second group objects to any strong claims about structural features as such. In response, this article shows that a careful reading of Waltz’s writings suffices to indicate that the presupposition adopted by both groups of critics is flawed. Neorealism was never presented by its main proponent as a deterministic international relations theory.
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Brūveris, Klāra. "Alternative Networks of Globalisation: Latvian Neorealism in the Films of Laila Pakalniņa." Baltic Screen Media Review 4, no. 1 (December 1, 2016): 38–59. http://dx.doi.org/10.1515/bsmr-2017-0003.

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Abstract This paper examines the development of neorealist tendencies in the oeuvre of contemporary Latvian filmmaker Laila Pakalnina. Her work is positioned within the global dissemination of cinematic neorealism, and its local manifestations, which, it is argued, develop in specific national contexts in reaction to dramatic societal and political changes. Pakalniņa’s films are examined as a documentation of the change from a communist satellite state to an independent democratic, capitalist country. Heavily influenced by the Riga School of Poetic Documentary, a movement in Latvian cinema that adhered to the conventions of poetic documentary filmmaking, the article analyses how her films replicate and further develop the stylistic and aesthetic devices of the Italian neorealists and the succeeding cinematic new waves. In doing so the argument is put forth that Pakalnina has developed neorealism Latvian style.
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Baszak, Ewa. "Reception of neorealist films in the Polish Film School." Journal of Italian Cinema & Media Studies 11, no. 3 (June 1, 2023): 601–14. http://dx.doi.org/10.1386/jicms_00199_1.

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In this article, I examine the influence of neorealism on the ideological and artistic establishment of the Polish Film School. In the first part, I discuss theoretical assumptions about the Polish Film School, focusing on its characteristics and the reasons behind its foundation. Then, I analyse neorealism’s contribution to the Polish Film School in the 1950s using examples from Polish literature. In the last part, I present an analysis of the two Polish films most strongly imbued with the spirit of neorealism: Pokolenie (A Generation) () and Godziny nadziei (The Hours of Hope) (). Through a critical analysis of interviews and press coverage from 1953 to 1955 that takes the historical perspective of Italian neorealist films into account, I conclude that the Polish Film School was most fascinated by the Italian observation of reality and curiosity about human affairs.
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Crawford, Neta C. "Human Nature and World Politics: Rethinking `Man'." International Relations 23, no. 2 (June 2009): 271–88. http://dx.doi.org/10.1177/0047117809104639.

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While realists acknowledge that their theories of world politics are rooted in specific assumptions about human nature, neorealists tend to discount human nature in favor of an emphasis on systemic forces. Nevertheless neorealism has assumptions about human nature that shape neorealist theorizing. Specifically, in Man, the State, and War and Theory of International Politics, Waltz make essentially the same assumptions about human nature as the realists — that our human natures are fixed, that we cannot trust others, and that decision-makers are rational calculators who seek to promote their narrowly defined self-interests. Moreover, for Waltz, human nature determines world politics as much or more than its anarchic structure. A review of biology, specifically human neuroscience, suggests that these assumptions about human nature, and its relation to world politics, ought to be challenged. Our `natures' are much more complex and flexible than realism and neorealism assumes.
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Aguilera Mora, Mauricio Kevin. "Aldo Francia and Italian neorealism: A Latin American filmmaker and a creative affiliation." Journal of Italian Cinema & Media Studies 10, no. 2 (March 1, 2022): 333–48. http://dx.doi.org/10.1386/jicms_00130_1.

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This article first analyses how and why Italian neorealism was a catalyst for the emergence of other national cinemas in Latin America. It also delves into the case of the creation of a new cinematographic culture in Chile, where the filmmaker Aldo Francia served as one of its main promoters and for whom neorealist cinema was a preponderantly important reference. Subsequently, the article examines the complex relationship that Francia established with neorealism in his work. In this sense, one of his films, Valparaíso, mi amor (Valparaiso My Love) (1969) is analysed and put into dialogue with other neorealist films, to determine the intertextual relationships that the film establishes with neorealist cinema, and thus, to delimit what is the neorealist heritage in the film, and, to understand how he radicalized and appropriated a foreign aesthetic to create his own aesthetic proposal based on Chilean context.
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Parent, Joseph M., and Sebastian Rosato. "Balancing in Neorealism." International Security 40, no. 2 (October 2015): 51–86. http://dx.doi.org/10.1162/isec_a_00216.

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Does neorealism offer a convincing account of great power balancing behavior? Many scholars argue that it does not. This conclusion rests on a misunderstanding of neorealist theory and an erroneous reading of the evidence. Properly specified, neorealism holds that great powers place an overriding emphasis on the need for self-help. This means that they rely relentlessly both on arming and on imitating the successful military practices of their peers to ensure their security. At the same time, they rarely resort to alliances and treat them with skepticism. There is abundant historical evidence to support these claims. Since 1816, great powers have routinely achieved an effective balance in military capabilities with their relevant competitors and promptly copied the major military innovations of the period. Case studies show that these outcomes are the product of states' efforts to ensure security against increasingly capable rivals. Meanwhile, the diplomatic record yields almost no examples of firm peacetime balancing coalitions over the past 200 years. When alliances have formed, great powers have generally doubted the reliability of their allies and of their opponents' allies. Thus neorealism provides a solid foundation for explaining great power balancing behavior.
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Reva-Lievshakova, Liudmila. "THE CONCEPT OF «NEOREALIZM» IN UKRAINIAN LITERARY STUDIES." Sworld-Us Conference proceedings, usc16-01 (January 30, 2019): 172–75. http://dx.doi.org/10.30888/2709-2267.2023-16-01-028.

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The paper examines the issue of the formation of the term "neorealism" in Ukrainian literary studies. Various neorealist concepts of the past century and the present are studied. The literary movement of terminological definitions of new artistic and lite
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Φραγκούλη, Νάντια Αυγερινός. "Ιταλικός κινηματογραφικός νεορεαλισμός και ελληνική μεταπολεμική πεζογραφία: Νεορεαλιστική γραφή στο Άνθρωποι και σπίτια του Αντρέα Φραγκιά." Σύγκριση 26 (February 25, 2018): 81. http://dx.doi.org/10.12681/comparison.11038.

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The years 1951-1961 mark the reception of Italian neorealist cinema in Greece with the production of films influenced by neorealism and the discussion of the nature of neorealism by Greek film critics. The novel Anthropi ke spitia [Of Houses and Men] by Adreas Fragkias, published in 1955, four years after the first viewing of De Sica’s Bicycle Thief in Greece, shows significant similarities to the themes and style of the Italian neorealist cinema. Discussing unemployment as a crucial problem of post-war Greek society Anthropi ke spitia presents the life in a poor urban neighbourhood in a series of seemingly random episodes that B. Klaras in his review of the book called ‘cinematic tableaux’. Most importantly, however, it seems that Fragkias’ novel explores the boundaries and the style of realism in post-war literature in a way that resonates the aesthetic principles of the Italian neorealistic films.
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Dissertations / Theses on the topic "Neorealism"

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Kim, Bo-Sun. "Neorealism and issue structuralism." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1033642.

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This study presented a comprehensive review of Kenneth Waltz's structural realism of international politics. Waltz pursues parsimonious theory by adopting elegant definitions of structure. His neorealistic approach is an impressive intellectual achievement. It is an elegant, simple, deductively rigorous instrument geared for scientific contribution. Yet this pure structural realism provides an insufficient basis for explaining international relations. Neorealism is one presentation of reality among many. It does not pretend to reflect all realities. Thus, I suggest that we adopt the complex interdependence concept as a thought experiment regarding that which international politics might look like if the basic assumptions of realism were revised and how we overcome inefficient and over-consumptuous control of great powers that defend the status-quo via the excuse for international stability.
Department of Political Science
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Palmer, Maxim Geoffrey. "Neorealism and Iran's Security Environment." Thesis, University of Canterbury. National Center for Research on Europe, 2009. http://hdl.handle.net/10092/4258.

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Introduction: This paper will analyse Iran’s security situation through the theory of Neorealism as espoused by Kenneth Waltz. In the following study we will apply this theory to the modern international context of the nation state of Iran. We will see what Neorealism tells us about the case study, and what the case study tells us about Neorealism. In this study we will operate on, and further investigate/test, the following structural realist presumptions relevance to the case at hand (Iran's international politial environment): A state of anarchy in the international system. That the principle of rational action in this state system is 'self help'. That the most important way in which states must help themselves is the provision of security. Methodology: How will we apply this Theory? We will begin by attempting to explore an Iranian perspective on the international system, through the study of Iranian history in the international system. We will also explore the modern context in which Iran (presumably) implements this perspective, by breaking down Iran’s modern relations with actors of particular security significance. In doing so, we are attempting to measure the extent to which Iran's experience of the international system resembles the attributes of the system outlined in Waltzian Neorealism, and to investigate how and to what extent this generates insight into understanding the modern dimensions of the Iranian security situation in its international context.
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Charalampopoulos, Dimitrios. "On neorealism and its progress." Thesis, University of Reading, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.658882.

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This thesis investigates the philosophical presuppositions of Kenneth N. Waltz's Theory of International Politics focusing, primarily, on its epistemology and ontology. It offers a taxonomy of epistemological and ontological theories that is useful for providing an enhanced understanding of Waltz's theory but also for revealing some of its problematic features. These include the incompatibility between Waltz's ontology and his deductive approach and a number of occasions on which Waltz requires from the theories of others the fulfilment of a number of criteria that his own intellectual system does not meet. The argument is in part informed by a comparison (encouraged by Waltz himself) between International Relations and Physics. The thesis thus supplies an assessment of the 'internal' coherence of the theory and its 'external' applicability. It also addresses the issue of the extent to which the tradition that Waltz founded can be expected to lead to a promising intellectual path. In doing so, it discusses the question of what, if anything, 'progress' might consist in. This thesis does not aim at creating a new approach for appraising theories of International Relations. Its purpose is to clarify the nature of Waltz's philosophical commitments, and their appropriateness to the tasks he set himself, by making use of already existing philosophical standpoints. Its contribution lies more in examining Waltz's theory - and potentially other theories of International Relations - from an angle that, while available, has not been, so far, extensively used. The approach adopted may facilitate the appreciation of the benefits of drawing a useful distinction: that which separates those problems that are philosophical and have to be acknowledged as such from those that can more effectively be addressed by the discipline of International Relations.
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JAFARYAN, Faezeh. "Italian Neorealism and Iranian Cinema: A Deleuzian Reading." Doctoral thesis, Università degli studi di Ferrara, 2016. http://hdl.handle.net/11392/2403414.

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L’influenza del neorealismo italiano sui film realizzati dopo la sua stagione e sui movimenti cinematografici sorti sia in Italia sia all’estero è stata oggetto di analisi per molti studiosi. Anche il cinema iraniano, in particolare l’opera di Abbas Kiarostami, è stata indagata alla luce dell’esperienza neorealista. Tuttavia, la quasi totalità di queste ricerche e di questi studi si è concentrata principalmente sul contenuto sociale e su alcune caratteristiche stilistiche ed estetiche proprie del neorealismo. Ci riferiamo a caratteristiche come “l’uso di ambienti reali, di attori non professionisti, di campi lunghi, di trame poco complesse… ” che sono state ripetutamente indicate da studiosi e storici del cinema come identificative del neorealismo. Ci sono, però, alcuni intellettuali che hanno cercato di andare oltre le definizioni convenzionali date a questo movimento e di prestare attenzione alle sue implicazioni filosofiche. In tal senso, Gilles Deleuze, che ha dedicato un intero capitolo del suo L’immagine-movimento. Cinema 1 (1984) al neorealismo e che ha citato, all’interno di entrambi i suoi due volumi di argomento cinematografico, molti film italiani per esemplificare le sue teorizzazioni, è uno dei filosofi più importanti. Secondo Deleuze il neorealismo italiano rappresenta un punto di svolta nella storia del cinema, un momento in cui viene alla luce un nuovo tipo d’immagine, un’immagine ottica che offre una diretta rappresentazione del tempo. In questa dissertazione abbiamo cercato di stabilire un confronto tra la new wave iraniana e il neorealismo sulla base dei concetti e delle definizioni che Gilles Deleuze attribuisce a quest’ultimo e abbiamo cercato di esplorare i diversi tipi di immagine-tempo e di immagine-pensiero in alcuni film italiani e iraniani.
The influences of Italian neorealism on subsequent films and cinematic movements either in Italy or abroad have been studied by a great deal of scholars. Iranian cinema particularly Abbas Kiarostami’s films, also, have been investigated from the viewpoint of neorealism. The common ground of all these researches and studies, however, is the social content and some aesthetic and stylistic features of neorealism; the features such as ‘real locations, non-professional actors, long shots, simple plots, etc.’ which have been repeated by critics and historians of cinema as the defining features of neorealism. There are some thinkers, though, who tried to go beyond conventional definitions of this movement and pay heed to its philosophical dimensions. Gilles Deleuze is one of the most important philosophers, in this sense, who dedicated a chapter of his Cinema 1 (1986) to Italian neorealism and cited many Italian films as examples of his theories throughout his two-volume cinematic books. According to him, Italian neorealism is a turning point in history of cinema, where a new cinematic image came to exist for the first time, a pure optical image which gives a direct presentation of time. In this study, we tried to make a comparison between neorealism and Iranian new-wave in terms of concepts and definitions Deleuze ascribed to neorealism and we tried to explore different kinds of time-image and thoughtimage in some Italian and Iranian films.
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Ewan, Pauline. "Neorealism, neoliberalism and military aerospace collaboration in western Europe." Thesis, Aberystwyth University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289885.

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Chan, Yan-chuen, and 陳仁川. "Neorealism and the Chinese ideology in Yamada Yoji's family films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/210180.

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Besides Tora-san series and samurai trilogy, veteran Japanese filmmaker Yamada Yoji also endeavors in making family films, however, his ‘home drama’1 genre has long been neglected in academia. To fill this gap, the aims of this research are to investigate firstly the aesthetics of his social realistic films; secondly, what are the family values revealed in his family films and thirdly, how ‘woman’ is portrayed in his ‘home drama’. Working under the ‘director system’ of Shochiku Studio, this research argues that auteur theory which advocates director as the author of a film is applicable to Yamada and is thus employed to examine family films that are produced between 1970 and 2013. Background information of the auteur (author) and his films are reviewed in Part I of this thesis while Part II will focus on the discussion and analysis of the film aesthetics and motifs of Yamada Yoji’s family films. Similar to other cultural artefacts, film aesthetics cannot stand apart from the surrounding culture. Italian neorealism which flourished at the time when Yamada entered the film industry will be used to examine Yamada’s stylistic orientation. It is found that except collaborating with professional actors, Yamada’s films display most of the characteristics of Italian neorealism. In the pursuit of aesthetic realism, the “repeated team” (also known as ‘director’s team’) of Yamada at Shochiku Studio helped him to actualize his film aesthetics. With its adoption of ‘director system’ and ‘star system’, Shochiku is also known for producing shomingeki (film of ordinary people), so besides the possible influences from Italian neorealism, Shochiku Studio may have also cast influences to the artistic style of Yamada Yoji. Through intertextual reading of his social realistic films, the kind of social problem always lies in the dilemma between tradition and progression. Viewing ‘family’ as the fundamental unit of a society, Yamada presents to us the importance of preserving traditional virtues and family values in the continuation of a family so as to the sustainability of a society. This research reaffirms the influence of Chinese ideology on the construction of Japanese family system that the family relationships and the core family values found in films can well be explained by Chinese Confucianism. Under the patriarchal social context, it is interesting to discover the portrayal of ‘strong woman and weak man’ image in his family films. While the oppression of women is depicted in the process of modernization, the image of ‘strong woman’ is presented through the inscription of femininity in Yamada’s cinematic film texts. Rejecting the binary opposition of sexes, women in Yamada’s films is portrayed to encompass the qualities of masculinity and femininity under the ecriture feminine writing of Yamada. This feminine approach can be regarded as a way out, as proposed by the auteur, to tackle social challenges. Through an in-depth examination of Yamada Yoji’s family films, this research demonstrates that is a good way to learn more about a culture or a society through social realistic cinema.
published_or_final_version
Japanese Studies
Doctoral
Doctor of Philosophy
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DiSalvo, Mary Lorraine. "Redirecting Neorealism: Italian Auteur-Actress Collaborations of the 1950s and 1960s." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11518.

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The aftermath of Italy's cinematic movement neorealism left several directors searching for a new cinematic practice and a new directorial identity. Many of the most artistically intrepid directors of the era turned to women as a means of professional and personal reinvention. This study analyzes the collaborations of Vittorio De Sica, Roberto Rossellini, Federico Fellini, and Michelangelo Antonioni with the actresses Sophia Loren, Ingrid Bergman, Giulietta Masina, and Monica Vitti, respectively.
Romance Languages and Literatures
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Piturro, Vincent. "The audience and the film: A reader-response analysis of Italian Neorealism." Connect to online resource, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3303881.

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Lott, Anthony David. "Neorealism and Environmental Cooperation: Towards a Structural Explanation of International Environmental Matters." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5279.

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The realist tradition in world politics has long been heralded by statesmen and scholars alike as offering an authentic account of the relations between states. Realists consider self-interest, anarchy, and power politics to guide the behavior of states in the international system. The perception that cooperation and amity are now the norm in the international system has raised the possibility of a theoretical shift of focus in the study of international politics. At present, scholars within the discipline of international politics are debating the relevance of realist thought. In particular, neorealism, or the structural variation of traditional realism, is under attack for not providing a rationale for international cooperation. This project undertakes to expand neorealism's ability to explain state behavior in the area of environmental cooperation. Employing the notion of anarchy as a self-help system, it shall be demonstrated that international environmental agreements appear to be influenced by the distribution of power in the international system. Anarchy mandates the need for state actors to cooperate on certain environmental issues, while that same system dissuades cooperation on a number of other important environmental matters. This thesis critiques the theoretical principles in neorealism and makes moderate changes to them. In keeping with neorealist thought, power, the interests of important states, and the position of the hegemon are considered important factors in understanding environmental cooperation. This project also studies three global environmental issues that provide insight into the rewards and limitations of using neorealism to explain cooperation.
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Ulfenstedt, Felix. "Donald Trumps utrikespolitiska hemvist : En kvalitativ textanalys av presidentens utrikespolitiska ideologi." Thesis, Linnéuniversitetet, Institutionen för statsvetenskap (ST), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-90970.

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Since Donald Trump got elected as president of the United States in november 2016 there has been uncertainties concerning which foreign policy Trump intends to implement. Trump has been accused of being a populist and has himself been clear with his patriotic and nationalistic interests. The study has focused on the classical IR theory, realism and the trade policy theory protectionism. The analysis is based upon two speeches held by Trump in which he makes foreign policy statements. The first of the two speeches was held to the UN and the second upon the situation in the northern Syria. The two speeches got analyzed using ideal types based on offensive realism, defensive realism and protectionism. In summary president Donald Trump shows tendencies of implementing offensive neorealism to his foreign policy, he is also using protectionism to control Americas trade policy.
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Books on the topic "Neorealism"

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Silvia, Paoli, Amodeo Fabio, and Villa Manin di Passariano, eds. Elio Ciol: Gli anni del neorealismo = the neorealism years. Torino: Umberto Allemandi, 2009.

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May, Ernest R., Richard Rosecrance, and Zara Steiner, eds. History and Neorealism. Cambridge: Cambridge University Press, 2009. http://dx.doi.org/10.1017/cbo9780511778551.

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Manuela, Gieri, Lavorato Rachele Longo 1951-, and Principe Angelo, eds. Readings on neorealism. Toronto: University of Toronto Bookstores, 1992.

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History and neorealism. Cambridge: Cambridge University Press, 2010.

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John, Glenn, Howlett Darryl A. 1954-, and Poore Stuart, eds. Neorealism versus strategic culture. Aldershot, Hants, England: Ashgate, 2004.

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What is neorealism?: A critical English-language bibliography of Italian cinematic neorealism. Lanham: University Press of America, 1991.

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Milli Konewko, Simonetta. Neorealism and the "New" Italy. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-52416-4.

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Bert, Cardullo, ed. André Bazin and Italian neorealism. New York: Continuum, 2011.

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E, Ruberto Laura, and Wilson Kristi M, eds. Italian neorealism and global cinema. Detroit: Wayne State University Press, 2007.

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Shih, Chih-yu. Interdependence, independence and Chinese neorealism. Toronto: Joint Centre for Asia Pacific Studies, 1993.

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Book chapters on the topic "Neorealism"

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Zimmermann, Hubert. "Neorealism." In The Palgrave Handbook of EU Crises, 99–113. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51791-5_5.

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Mukhopadhyay, Amartya. "Neorealism." In Realist Paradigm of International Relations, 100–119. London: Routledge India, 2023. http://dx.doi.org/10.4324/9781003451167-5.

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Ruberto, Laura E., and Kristi M. Wilson. "Italian Neorealism." In A Companion to Italian Cinema, 139–56. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781119006145.ch9.

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Milli Konewko, Simonetta. "Neorealism and Films." In Neorealism and the "New" Italy, 23–35. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-52416-4_3.

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Milli Konewko, Simonetta. "Neorealism and Literature." In Neorealism and the "New" Italy, 37–46. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-52416-4_4.

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Milli Konewko, Simonetta. "Emotions in Neorealism." In Neorealism and the "New" Italy, 47–54. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-52416-4_5.

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Powell, Robert. "Neorealism and Game Theory." In Perspectives on Structural Realism, 9–29. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1057/9781403981707_2.

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Banerjee, Trinankur. "Before Neorealism, After Commedia." In Bengal and Italy, 126–42. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003362173-9.

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Krasner, David. "Neorealism and Cinematic Love." In 1964, A Year in African American Performance History, 135–66. London: Routledge, 2024. http://dx.doi.org/10.4324/9781032670584-5.

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Polinder, Simon. "Religion in Waltz's Neorealism." In Towards A New Christian Political Realism, 126–54. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003462712-8.

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Conference papers on the topic "Neorealism"

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Hakuasheva, Madina. "Neorealism And Heterotopias: Creative Method Of Modern Circassian Russian-Speaking Writers." In International Scientific Conference «Social and Cultural Transformations in the Context of Modern Globalism» dedicated to the 80th anniversary of Turkayev Hassan Vakhitovich. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.10.05.394.

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Chang, Jiayuan, Weijie Shen, and Jiaxuan Yu. "Explaining Kazakhstan’s Accession to and Compliance with WTO, from a Neorealism and a Neoliberalism Approach." In 2021 4th International Conference on Humanities Education and Social Sciences (ICHESS 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.211220.139.

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Mekinda, Jonathan. "Designing ‘The House of Man’: Franco Albini and the place of Neorealism in Italian Design, 1930-1960." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-029.

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Burima, Maija, and Rudīte Rinkeviča. "MARGINALITY AND NEOREALISM IN CONTEMPORARY LATVIAN LITERATURE AND THEIR INTERPRETATION IN SCIENTIFIC RESEARCH PAPERS OF SECONDARY SCHOOL STUDENTS." In 13th International Conference on Education and New Learning Technologies. IATED, 2021. http://dx.doi.org/10.21125/edulearn.2021.1649.

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Ivanov, Aleksandar, Snezhana Nikodinovska-Stefanovska, and Srna Sudar. "THEORETICAL APPROACHES IN EXPLAINING SECURITY (INTERNATIONAL RELATIONS, HUMAN SECURITY AND ENVIRONMENTAL SECURITY)." In SECURITY HORIZONS. Faculty of Security- Skopje, 2020. http://dx.doi.org/10.20544/icp.11.01.20.p24.

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The idea of security is complex and has achieved popularity with many scientist in the field of political studies, almost throughout the 20th century. The liberalism promoted by Woodrow Wilson, whose culmination we see with the 1938 Munich Agreement, was questioned with the most destructive war that happened on the planet. With the creation of the bipolar order of international relations the understanding of security was mainly through the classic and modern realism, neorealism, structural realism, based on the work of Thucydides, Machiavelli, Morgenthau. However, after the Helsinki Agreement and the creation of the largest regional security organization in the world, as well as according to some authors as Ulrich Beck, Barry Buzan and others, the meaning of the idea of security changed. Namely, security became not only security at the external borders of a country. Security became the security of a person, but also in an ultra-radical sense – security of the environment.
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Koltsova, N. "ON THE QUESTION OF THE SYMBOLISM OF THE VELD IN RUSSIAN PROSE OF THE FIRST THIRD OF THE TWENTIETH CENTURY (USING THE EXAMPLE OF THE STORIES OF PLATONOV AND PRISHVIN)." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3707.rus_lit_20-21/122-125.

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The article is devoted to the study the features of “spatial form” in the stories of M. Prishvin and A. Platonov. The space itself acts as a hero in them, while the central character (or characters) are interesting to the author rather as a focus of perception. The shift of emphasis from a person to “thinking matter”, or “the substance of existence” (Platonov), predetermines a change in all levels of artistic structure - from the organization of the plot, which is relegated to the background or is completely absent, to types of psychologism, often taking the form of “anti-psychologism”. The “floating point of view” of Platonov’s later stories evokes associations with the cinematic technique of the wandering camera, or “subjective camera.” In Prishvin’s story, the effect of “depersonalization” is achieved by updating the traditional technique of duality: the black Arab is the shadow of the hero, declaring itself before the latter appears and remaining in the story (and in the desert world) after him. Despite the fact that national exoticism predominates in Prishvin’s story, it, introducing the reader to the world of oriental legends and culture in general, does not cancel the Russian “prehistory” of Prishvin’s method, prepared both by the traditions of Russian classical literature of the 19-th century and by the discoveries of neorealism of the 20-th century.
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Чжао, Ш., and Б. М. Жалсанова. "NEORELISM IN THE ART OF CHINA (BASED ON THE EXAMPLE OF THE WORK OF XIN DUNG-WANG, LUO ZHONGLI AND CHEN DANQING)." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.29.

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Неореалистическое направление в китайской масляной живописи прочно закрепилось в истории современного искусства. Творчество представителей неореалистического течения Синь Дунвана1, Луо Чжунли2 и Чен Данцина3 не сводимо к единому стилю, но отличается своеобразием индивидуального почерка, который синтезировал в себе наследие социалистического канона Советского Союза и традиционной живописи Китая. Картины живописцев раскрывают острые социальные проблемы сельских жителей Китая. The neorealist movement in Chinese oil painting is fi rmly entrenched in the history of modern art. The work of representatives of the neorealist movement Xin Dongwang, Luo Zhongli and Chen Danqing is not reducible to a single style, but is distinguished by the originality of individual style, which synthesized the heritage of the socialist canon of the Soviet Union and traditional painting of China. The paintings of the painters reveal the acute social problems of rural residents of China.
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GAYO SANTACECILIA, Javier, and Enrique MORALES CORRAL. "AVATARES Y FANTASÍAS NEOREALES EN LA CIUDAD VIRTUAL." In 6 Conference Creatives Cities. Madrid: ICONO 14 Editorial, 2018. http://dx.doi.org/10.7195/piccc.00017.

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Alfathimy, Deden Habibi Ali. "Posisi Indonesia terhadap Rekomendasi Group of Governmental Experts on Transparency and Confidence-Building Measures in Outer Space Activities." In Seminar Nasional Kebijakan Penerbangan dan Antariksa III. Bogor: In Media, 2019. http://dx.doi.org/10.30536/p.sinaskpa.iii.15.

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Perkembangan terkini pelaku dan kegiatan keantariksaan menimbulkan potensi ancaman terhadap kepentingan-kepentingan keamanan antariksa nasional hampir semua negara. Kehadiran Rekomendasi Group of Governmental Experts on Transparency and Confidence-Building Measures in Outer Space Activities (Rekomendasi GGE) di dalam sistem Persatuan Bangsa-Bangsa sebagai salah satu perangkat regulasi diharapkan dapat meningkatkan penjaminan keamanan antariksa. Makalah ini membahas perkembangan dan tanggapan negara-negara terhadap Rekomendasi GGE untuk menentukan posisi Indonesia terhadapnya. Makalah ini menggunakan pendekatan kualitatif dengan metode penelitian kajian kepustakaan (library research). Secara teoretis, makalah ini menggunakan perspektif neorealisme yang ada di dalam Studi Hubungan Internasional. Simpulan makalah ini merekomendasi Pemerintah Indonesia untuk mengumpulkan seluruh stakeholder kegiatan keantariksaan di Indonesia dalam rangka merumuskan tanggapan Indonesia terhadap Rekomendasi GGE.
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"China’s strategy to strengthen soft power in the Asia-Pacific region." In Human resource management within the framework of realisation of national development goals and strategic objectives. Dela Press Publishing House, 2022. http://dx.doi.org/10.56199/dpcsebm.chla9607.

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The article examines research personnel training as part of China’s strategy to expand its ‘soft power’ in the Asia-Pacific region and the world as a whole. The research methodology is based on a series of neoliberal and neorealist approaches of the international relations theory. As part of the research, a comparative analysis of the innovative development indicators in the Human Capital and Research area was carried out when assessing the global innovation index for such countries as China, Russia and the United States. The results of the article demonstrate that strengthening the training of China’s research personnel is an essential component of China’s strategy to strengthen its ‘soft power’. The educational sphere, the activities of research institutes in large companies of the country and the think tanks of the PRC have been studied. The creation and improvement of those institutions make it possible to promote research activities in connection with the current goals of the Chinese policy, and ensure that research personnel in the strategic planning of China’s ‘soft power’ is involved.
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Reports on the topic "Neorealism"

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Lott, Anthony. Neorealism and Environmental Cooperation: Towards a Structural Explanation of International Environmental Matters. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.7152.

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