naturalistic

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Careful work has been done by scholars such as Gregory Moore (Nietzsche, Biology, Metaphor) and John Richardson (Nietzsche's New Darwinism) on the importance, indeed centrality, of biological and evolutionary considerations in Nietzsche's work, especially his naturalism but also his value-theory.
Lacking a demonstrable understanding of what naturalism is, Dworkin's argument harkens back to the same old prejudice as Rev.
In chapter 5, Nagel proposes that evolutionary naturalism and the existence of values are incompatible.
The upshot, as you would expect, is that methodological naturalism (in both its strong and weak senses) can indeed produce conflicts with traditional Christianity, but not defeaters.
Because the certainties the dreams of naturalism and mastery provided have been broken, Wapner argues that we are left in a place of uncertainty and ambiguity.
American Naturalism and the Jews opens exciting avenues for such work.
Instead, the author offers "biological naturalism," contending that even though the mind can't be reduced to neurons, consciousness can be explained by the physical behavior of those brain cells.
Each has excelled in the popular imagination because one produces works of astonishing naturalism while the other adopts a style-less classicism reminiscent of Raphael.
It was Isadora Duncan who first realized the theatrical possibilities of incorporating natural movement into dance; this heightened naturalism can be seen in all the various photos and drawings of her in rhapsodic action.
With unforced naturalism recalling Spike Lee's Do the Right Thing, Belanger's movie plays like the blues, transcending the sorrow he laments.
Velazquez's unique painting style, which combined dramatic lighting, intense colouring and increasingly loose brushstrokes, was dominated by a single preoccupation - to capture a degree of naturalism never achieved before in the history of art.
He traces theatre history through the birth of naturalism in the 1870s and the anti-naturalist rebellion that followed it, and explains why contemporary dramatists still refer to certain work as avant garde or experimental, even though the "experiment" has, according to Milner, long since ended.