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Auswahl der wissenschaftlichen Literatur zum Thema „1840-1928 Criticism and interpretation“
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Zeitschriftenartikel zum Thema "1840-1928 Criticism and interpretation"
1
Hodgson, Peter C. „Hegel’s Interpretation of Determinate Religion“. Owl of Minerva 52, Nr. 1 (2021): 5–9. http://dx.doi.org/10.5840/owl202152733.
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This is the first major study of Hegel’s treatment of the world religious in many years. It has much to commend it. The author possesses a mastery of the sources used by Hegel; he shows the pivotal position of “Determinate Religion” in Hegel’s philosophy of religion; he discusses the rise of Orientalism in the nineteenth century; and he demonstrates the connection between “the logic of the gods,” human self-recognition, and the slow progression of freedom in culture and history. My primary criticism is that Stewart does not utilize the resources provided by the critical edition of the Lectures on the Philosophy of Religion prepared by W. Jaeschke in the 1980s (even though he provides references to the Jaeschke edition). Stewart is interested in the composite picture rather than in how Hegel arranges, modifies, and experiments with the materials available to him in each of his four series of lectures. His picture is essentially the one provided by the old edition of 1840 and for this reason leaves much to be desired.
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Sopianna, Pian, Muhammad Noer Faturrachman und Mardani Mardani. „Peran Peter William Hofland dalam Mengelola Tanah Partikelir Pamanoekan en Tjiasem Landen Subang Tahun 1802-1874“. Historia Madania: Jurnal Ilmu Sejarah 4, Nr. 1 (30.07.2020): 61–72. http://dx.doi.org/10.15575/hm.v4i1.9186.
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This article deals with the role of a Peter William Hofland in developing the lands of Pamanoekan en Tjiasem in Subang Regency. William was considered to have successfully developed the lands, particularly in running the plantation business within the area of Subang. This study uses historical methods, namely heuristics, criticism, interpretation, historiography. Historically, William managed the land of Pamanoekan en Tjiasem since 1840 until his death in 1972. Within a period of 32 years, he had succeeded in developing the land of land in his territory namely Pamanoekan en Tjiasem Landen which is now known as Subang Regency.Keywords: Land Policy, Peter William, Plantation Business
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Vasic, Aleksandar. „Engagement in musical criticism: Pavle Stefanovic’s texts in The Music Herald (1938-1940)“. Muzikologija, Nr. 27 (2019): 203–20. http://dx.doi.org/10.2298/muz1927203v.
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Pavle Stefanovic (1901-1985) is one of the most prominent Serbian music critics and essayists. He created extensive musicographic work, largely scattered in periodicals. A philosopher by education, he had an excellent knowledge of music and its history. His style was marked by eloquence, associativity and plasticity of expression. Between 1938 and 1940 he published eighteen music reviews in The Music Herald, the longest-running Belgrade music magazine in the interwar period (1928-1941, with interruption from 1934 to 1938). Stefanovic wrote about concerts, opera and ballet performances in Belgrade, performances by local and eminent foreign artists. His reviews include Magda Tagliaferro, Nathan Milstein, Jacques Thibaud, Enrico Mainardi, Bronis?aw Huberman, Alexander Uninsky, Alexaner Borovsky, Ignaz Friedman, Nikita Magaloff and many other eminent musicians. Th is study is devoted to the analysis of the Stefanovic?s procedure. Pavle Stefanovic was an anti-fascist and left ist. He believed that the task of a music critic was not merely to analyze and evaluate musical works and musical interpretations. He argued that the critic should engage in important social issues that concerned music and music life. That is why he wrote articles on the occasion of German artists visiting Belgrade, about the persecution of musicians of Jewish descent and the cultural situation in the Third Reich. On the other hand, Stefanovic was an aesthetic hedonist who expressed a great sense of the beauty of musical works. Th at duality - a socially engaged intellectual and a subtle ?enjoyer? of the art - remained undisturbed. In these articles he did not go into a deterministic interpretation of the structure of musical composition and the history of music. And he did not accept the larpurlartistic views.
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Ar Razy, Mohammad Refi Omar. „The Sekar Rukun Association: Struggle of the Sundanese Youth National Movement Era (1919-1931)“. Historia: Jurnal Pendidik dan Peneliti Sejarah 4, Nr. 2 (07.06.2021): 159–72. http://dx.doi.org/10.17509/historia.v4i2.32045.
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This study aims to analyze the kirprah of the Sekar Rukun Association during the National Movement (1919-1931) which includes the formation, form of struggle, and the process of merging with the Young Indonesia organization. The research method used is the historical method which consists of heuristic, source criticism, interpretation, and historiography stages. Through this research, it can be seen that, first, the Sekar Rukun Association was formed by Sundanese figures who attended school in Batavia, such as Doni Ismail, Iki Adiwidjaja, Djuwariah, Hilman, Moh. Sapii, Mangkudiguna, Soetisna Sendjaja and Iwa Kusumasumantri before finally Dr. Husein Djajadiningrat was involved in the Sekar Rukun Association. Second, the form of struggle for the Sekar Rukun Association is by working with youth organizations similar to that during the National Movement such as Jong Java, Jong Ambon, Jong Sumatranen Bond, Jong Islamieten Bond, Jong Celebes, Jong Bataks and so on. One form of the struggle of the Sekar Rukun Association together with other youth organizations was to hold Youth Congresses I and II in 1926 and 1928. The 2nd Youth Congress in 1928 was known as the Youth Pledge event. Third, as a form of unity and integrity, the Sekar Rukun Association merged with the other youth organizations mentioned above to form an organization called Young Indonesia in 1931.
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Avram, Virtop Sorin. „Philosophy and education: The predicament of Ion Petrovici (1882–1972) work at Romania’s centennial (1918–2018)“. New Trends and Issues Proceedings on Humanities and Social Sciences 6, Nr. 1 (10.05.2019): 286–95. http://dx.doi.org/10.18844/prosoc.v6i1.4180.
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As one of the disciples of Titu Maiorescu (1840–1917) together with Constantin Radulescu–Motru (1868–1957) and Petre Paul Negulescu (1872–1951), they are regarded as the most prolific thinkers in Romanian modern thought and founders of the Romanian modern culture. History changes which they could not foresee have left the marks upon the perception, reception and interpretation of their work and Ion Petrovici is no exception to that. In order to understand and interpret his work reflected in his writings on philosophy, logic, philosophical monographs, travel diaries, speeches and notes, biographical method, along with text analysis, hermeneutical approach and criticism have been adopted. Bridging his prolific philosophical endowment with his epoch realities remains a wish and an ideal to which this paper aims with the respect that it would offer us a much clear image of the past and would increase our wisdom as how to act upon the future.
Keywords: Education, philosophy, Romanian culture.
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Babak, Galina. „AHAPII SHAMRAI IN SEARCH OF SYNTHETIC THEORY OF LITERATURE: 1920s“. Слово і Час, Nr. 3 (20.06.2022): 28–44. http://dx.doi.org/10.33608/0236-1477.2022.03.28-44.
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This article reconstructs the theoretical views of a literary historian and critic Ahapii Pylypovych Shamrai (1896—1952) in the context of perception of Oleksandr Potebnia’s philological and linguistic heritage — and at the same time in the context of the development of the formal method and sociological approach in Ukrainian literary criticism in the 1920s. The study offers a detailed analysis of Shamrai’s early work “O. Potebnia and the methodology
of the history of literature” (1924) in the connection with Russian formalists’ critical approach to Potebnia’s theoretical ideas. In his early work, Shamrai calls for a rethinking of Potebnia’s theory of the ‘inner form of the word’ and some of his other ideas, which, in his opinion, could be the basement for the further development of Ukrainian and Russian literary theory. Particular attention is paid to the study of a reader (audience) as a major component of literary analysis and interpretation. The idea of ‘studying a reader’ was crucial when Ukrainian scholars tried to combine two theoretical approaches — the formal and sociological methods. One of the best examples of such ‘synthetism’ in Ukrainian literary studies of the 1920s was Shamrai’s textbook “Ukrainian Literature. Brief overview” (1927, 1928), which is discussed in this article. The paper also argues that “synthetism” was inherent to the Ukrainian literary criticism of the 1920s in general. It was a theoretical framework used by many Ukrainian literary scholars, Oleksandr Biletskyi and Borys Jakubskyi being among them. Providing a historical context for Shamrai’s theories, the article also examines the historical and philological ideas of his older contemporary Oleksandr Biletskyi and estimates their influence on the development of Ukrainian literary criticism of that time
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Avram, Virtop Sorin. „An educational perspective on the philosophy of Petre Paul Negulescu (1872–1951) at the Romania Centennial’s (1918–2018)“. New Trends and Issues Proceedings on Humanities and Social Sciences 5, Nr. 1 (08.05.2018): 57–67. http://dx.doi.org/10.18844/prosoc.v5i1.3383.
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A disciple of Titu Maiorescu (1840–1917), Petre Paul Negulescu, along with Constantin Radulescu-Motru (1868–1957) and Ion Petrovici (1882–1972), is regarded as being among the most prolific thinkers in Romanian modern thought and one of the founders of the modern Romanian culture. Historical changes he could never envisage have left their mark upon the perception, reception and interpretation of his work. The paper reviews the key characteristics of Petre Paul Negulescu’s work as reflected in his studies on the origin of culture, the philosophy of Renaissance and two magnificent works, The History of Contemporary Philosophy and The Destiny of Humanity. The aim is to contextualise these works within the field of philosophy in terms of their sources, conceptual approach and hermeneutics. As well as furnishing the Romanian culture with a wealth of original thought, his pertinent analysis of social, economic, cultural and political changes, and his involvement in improving the educational system through his position as Minister of Instruction, have made him worthy of criticism and an outstanding reference point in times of revival.
Keywords: Education, philosophy, culture.
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Jodi, Jergian, und Badrun Badrun. „Eksistensi Kawasan Pecinan dalam Bentuk Pemenuhan Tata Ruang Kota Jember, 1930-1970“. Local History & Heritage 2, Nr. 1 (23.05.2022): 38–44. http://dx.doi.org/10.57251/lhh.v2i1.330.
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The formation of the district of Jember was influenced by Europeans who were interested in establishing a plantation in Jember. Jember which was originally part of the Bondowoso afdeeling then on January 9, 1883 the Governor of the Dutch East Indies made a change to a separate afdeeling and in 1928 the Dutch East Indies government issued a regulation to increase the status to Regentschap Djember as a district. Changes in status caused a large number of migrants to come, especially ethnic Chinese who made their place of residence namely the Chinatown village. The Chinatown area which is located in the city center is not only their place of residence, but their economic activities are also carried out in the area. The objectives to be achieved in this article are: (1) to determine the process of the formation of the Chinatown area in Jember Regency, (2) to determine the influence of the Chinatown area on the spatial planning of the city of Jember, 1930-1970. The method used in this study is a historical research method that contains four points, including: heuristics (data collection), verification (source criticism), interpretation, and historiography.
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Pulkkinen, Veijo. „Muutokset Aaro Hellaakosken"Vieras"-runon ulkoasussa“. AVAIN - Kirjallisuudentutkimuksen aikakauslehti, Nr. 2 (01.07.2016): 5–23. http://dx.doi.org/10.30665/av.66034.
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Changes in the Visual Form of Aaro Hellaakoski’s Poem ”Vieras” (”The Stranger”)
The present article shows how genetic criticism (critique génétique) can enrich our understanding and interpretation of visual poetry by examining the manuscript, proofs and published versions of the poem ”Vieras” (” e Stranger”) from the typographically experimental collection Jää- peili (”Ice Mirror”, 1928) by the Finnish poet Aaro Hellaakoski (1893–1952). e collection is regarded as a forerunner of Finnish modernism, and particularly its experimental typography got successors only as late as in the 1960s. Besides omitting punctuation and upper case letters, Hellaakoski experiments with the auditory and visual dimensions of ”Vieras” by dividing metrical stanzas and line units into typographically separate groups. In his later selected poems Valitut runot (”Selected poems”, 1940) and Runot (” e Poems”, 1947), Hellaakoski stripped ”Vieras” from these experimental features. e examination of the manuscripts and proofs of ”Vieras” shows that Hellaakoski’s later revisions actually revert the poem to a form closer to its early, visually more traditional, manuscript versions. e article suggests, that it was probably the integrity of Jääpeili as a modernist collection that motivated Hellaakoski into the experimental typography and ortography of ”Vieras”. ese features became dispensable when the poem was released from the context of the collection.
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Аксенова, А., und A. Aksenova. „TO THE ISSUE OF THE APPLICATIVITY OF UNDERSTANDING: THE CONTROVERSY BETWEEN E. BETTI AND H. G. GADAMER“. Bulletin of Kemerovo State University. Series: Humanities and Social Sciences 2017, Nr. 2 (25.06.2017): 61–64. http://dx.doi.org/10.21603/2542-1840-2017-2-61-64.
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<p>Considering the controversy between E. Betti and H.-G. Gadamer, we do not seek to criticize or defend the views of one of the parties, but to draw attention to the phenomenon of the emergence of the controversy. The issue of the applicativity of understanding was considered by other scientists, but we see the clash of methodological and ontological hermeneutics as the problem of understanding situated on the border of science and life, man and world, subjectivity and objectivity. The sheer existence of the controversy evokes hermeneutic attitude to the phenomenon of historicity. Since hermeneutics is limited neither to methodological issues of interpretation of works of the past culture nor to the development of the methodology of humanitarian knowledge but relates to the fundamental structures of human existence, we should note that every "correct understanding" means following the rules and some rules of understanding do exist, but this is about the process of understanding and thinking, and not its results as "correct" or "incorrect". The experience of understanding as a practical (not pragmatic) hermeneutics is the main intention of this article.</p>
Dissertationen zum Thema "1840-1928 Criticism and interpretation"
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Tiefer, Hillary Ann. „The natural and the cultivated in the novels of Thomas Hardy“. Thesis, University of Wales Trinity Saint David, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683149.
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Canton, Licia 1963. „The fate of the fallen woman in George Eliot and Thomas Hardy /“. Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65544.
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3
He, Donghui. „Reconstructions of the rural homeland in novels by Thomas Hardy, Shen Congwen and Mo Yan“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ48645.pdf.
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Robitaille, Hélène. „La figure du chansonnier : résurgence du sujet, et, Marie-la-putain“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0025/MQ50563.pdf.
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Toledano, Dorith. „L'écriture et le silence chez Elie Wiesel“. Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69677.
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Elie Wiesel, a Holocaust survivor, confronts a tragic dilemma: he must bear witness in order to pay respect to the memory of victims and perhaps help prevent a repetition of history. But are there words that can express the horror of the Holocaust? Would silence not be more appropriate in respect to the victims?Elie Wiesel is not the first to confront such a dilemma. Throughout Jewish history, tragedies and catastrophes have forced Jewish writers to face the issue. Many literary schools have emerged, particularly in the "modern period" (1850-1945), which have dealt with the question of how to best respond to the tragedy. It is therefore fitting to try and consider Elie Wiesel's works in light of these various literary currents.
However, the Holocaust is not just another tragedy, not even another catastrophe. The event has no precedent; it is unique; it represents the ultimate evil. How to come to terms with it? What is the way between the powerlessness of language and the impossibility of silence? Elie Wiesel must find the delicate art of making silence be heard beyond the noise of words. He will suggest rather than tell the event. He will maintain a distance to protect the secret of the victims in front of the horror. Survivors who share the secret, express themselves with a code, which is not transmissible. Language has been devalued and words have lost their meaning. But to remain silent might also be a form of treason.
From Night, his first book, and throughout all his works, Wiesel assiduously develops his way of bearing witness in the name of the victims. He rejects the silence which would be synonymous with passive acceptance. He identifies with Job and demands account from God for His absence and His silence, while evil was committed. He distrusts language but must find the way to translate the uniqueness of the Holocaust. He finds his inspiration in the tales and legends of the literature of the Bible, the Talmud and the Hassidism. He evokes, suggests and tells while trying to respect the blanks between the words. In language and in silence, Wiesel developed a certain art of suggesting for what cannot be told otherwise.
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Marusza, Julie A. „The transforming art of Anne Sexton /“. Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69619.
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By using rigorous conventional structure in her early work Anne Sexton was able to successfully contain some of her severe psychological instabilities stemming from childhood in poetic form. Sexton's artistic direction underwent a sharp change midway into her poetic career after she wrote the volume Transformations, a collection of story-poems based on narratives from the Grimm fairy tales. In this collection, Sexton took on the external persona of a witch, and with her new voice, she was boldly able to re-tell her version of the Grimm tales. The new persona enabled Sexton to shed her previous voice of passivity, and instead criticize humanity by using satire and humor. Unfortunately, this movement in her work was an exercise in self-exploitation as the larger, cultural arena of Grimm put off any chance of working out her private problems. After Transformations Sexton had come to the realization of her self-exploitation and decided to even further separate herself from humanity by continuing to work with even more generalized, cultural forms--a movement that ultimately led her to mythologize her own death.
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Waterkeyn, Linda Catherine. „Idolatry and the artist's role with special reference to the work and thought of Andy Warhol“. Thesis, Rhodes University, 1997. http://hdl.handle.net/10962/d1002221.
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This thesis uses Hirsch's dual notion of intention, i. e. conscious, intentional meaning and symptomatic, unconscious meaning, in order to avoid a dead end in the critical assessment of Warhol's work. T.S. Eliot's term "objective correlative" refers to a phenomenon whereby "an inner emotional reality" is evoked by its "external equivalent". (Benet, 1965). Thus, given that no work of art is purely self-referential (as distinct from its being autonomous),Hirsch's notion allows that viewerreconstruction of a painting involves shared values and concerns; that a painting reconstructed by a viewer acquires the status of an icon through which the viewer participates in the artist's sacred cosmos. Sociology of art tends on the whole to extrapolate from actual works to the alleged conditions that gave rise to them. That it cannot predict what specific works will arise from given conditions makes it unscientific. However, its usefulness lies in its ability to reveal what values and concerns are shared by artist and viewer. This is vital for an interpretation of Warhol's work. Warhol's biography leads directly into the meaning of his work. The sickly child of an immigrant steelworker, he grew up in Pittsburgh - an epitome of the technocratic-industrial environment - and was exposed from an early age to a violent and ugly world where the disparity between the super-wealthy and the struggling workers was deeply disturbing. That Warhol himself became a multi-millionaire artistic tycoon is significant, for it means that his works, his icons, were participatory in the very cultural myths and neuroses they appear to display or even despise. That his work has meaning and is open to interpretation there is no doubt. For example, a man-made soup can, as a manifestation and containment of the sacred, is coercive. Here the sacred becomes familiar, affordable and disposable. An electric chair, a man-made instrument of death, gives man supremacy over mortality and the divine prerogative of purging the world of all evil. The essay, however, does not attempt to answer the broader questions raised by Fromm and Roszak about the spiritual emptiness of the twentieth century and the existential crises experienced by those who hunger for meaning and fasten greedily onto anything that seems to proffer a glimpse of something beyond. The essay, nevertheless, strives within this context to elucidate the valid in Warhol's work
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Moon, Geoffrey. „The inner musical workings of Robert Schumann, 1828-1840 : in two volumes“. Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phm817.pdf.
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A thesis which examines Schumann's secret musical language and the development of that language into a highly complex system of extra-musical meanings expressed in tones, special motifs, harmonic progressions and keys. This study traces the development of Schumann's procedures by first analysing the songs of 1840 to see which repeated musical devices connected with texts. Once they have been identified, the application of these devices is then examined, retrospectively, in selected works for solo piano. Relying heavily on Schumann's diaries and letters, as well as a detailed analysis of selected works for voice and solo piano, this study shows the extra-musical meaning to be ultimately concerned with Schumann's wish to marry Clara Wieck and her father's unyeilding opposition to the idea.
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Matambo, Lotta Eleonoora. „The solo piano music of Einojuhani Rautavaara“. Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002311.
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Einojuhani Rautavaara's oeuvre is characterised by four distinctive creative periods, each demonstrating a remarkable variety of compositional idioms and styles. His application of multifaceted elements, often within a single work leading to notions of postmodernism, is derived from multifarious sources, such as (Finnish) folklore, Orthodox mysticism and a wide variety of standard twentieth century compositional techniques. Furthermore, Rautavaara regularly quotes from his own material, thus creating elements of auto-allusions within his oeuvre; a predisposition which forms an essential part of his compositional aesthetic. Analyses of eight piano works (1952-2007) provide a cross-section of Rautavaara's output which, together with a consideration of biographical factors and analytical focus on the intertextual elements of his writing, offers a rationale for determining the development of his musical identity. The analyses conclude that intertextual elements, which appear through a diverse array of expressive modes (such as mysticism, nationalism and constructivism) are an essential part of Rautavaara's eclectic compositional style and contribute to an understanding of the on-going development of his musical identity.
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Mutafchieva, Rositsa. „Minoritarian discourse in Japan : Kobayashi Aya's account of Burakumin experience“. Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19715.
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National Identity, Ethnic Identity, Minoritiness...These are all categories which appear to have existed always already, categories which seem to be normative by nature. They are determinative, for they position human beings on different levels of the social ladder and organize strategically human interrelations. Yet, while these same apparently transcendental categories appropriate a position of universality, they also claim to be particular to a specific place, a specific people, a specific race etc. The disjunction inherent in these categories can be realized within this ideological contradiction. It is therefore this very disjunction that calls upon the rethinking of identity in relation to nation, ethnicity and minority. In this thesis I offer a translation of nine separate excerpts from Kobayashi Aya's account on Burakumin experience in Japan. The author's contemplation on Japaneseness and Minoritiness, her questioning of national identity as a category and of this category as predetermined become the focus of my work. While outlining the structure of Kobayashi's writing and the methods she chooses to employ, I analyze the concepts of performativity, repetition and disruption as potential options for rethinking Japaneseness and Minoritiness as categories of identity.
Bücher zum Thema "1840-1928 Criticism and interpretation"
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Thomas Hardy, towards a materialist criticism. [Goldenbridge, Dublin]: Gill and Macmillan, 1985.
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Pinion, F. B. Hardy the writer: Surveys and assessments. Houndmills, Basingstoke, Hampshire: Macmillan, 1990.
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Pinion, F. B. Hardy the writer. New York: St. Martin's Press, 1990.
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Neill, Edward. Trial by ordeal: Thomas Hardy and the critics. Columbia, SC: Camden House, 1999.
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1948-, Clarke Graham, Hrsg. Thomas Hardy: Critical assessments. Mountfield, E. Sussex: Helm Information, 1993.
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Ingham, Patricia. Thomas Hardy. Oxford: Oxford University Press, 2009.
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The hidden Hardy. New York: St. Martin's Press, 1992.
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Thomas Hardy. New York: Palgrave Macmillan, 2009.
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Aub, Max. Geografía: Prehistoria, 1928. Segorbe [Spain]: Archivo Biblioteca Max Aub, 1996.
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Trevor, Johnson. A critical introduction to the poems of Thomas Hardy. New York: St. Martin's Press, 1991.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "1840-1928 Criticism and interpretation"
1
Mozharova, Marina A. „Textual Criticism of L.N. Tolstoy’s Unfinished Works of 1860–1870s“. In L.N. Tolstoy: Moral Search and Creative Laboratory, 184–208. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/lt-978-5-9208-0664-2-184-208.
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The article is devoted to L.N. Tolstoy’s unfinished works, published in academic Complete Works in 100 volumes (vol. 9, 2014). The author explores textual features of comedies “The Contaminated Family”, “The Nihilist” and the novel “The Decembrists”. Complications in studying the text of unfinished works arise from many factors, the main being the preservation of manuscript collection. Textual critic often has to reconstruct separate words or text fragments predicating on autographs and authorized copies. Another factor which greatly influences author’s text is the work of copyists. Their deliberate or unintentional meddling in the text usually results in losses but sometimes it becomes Tolstoy’s new source of inventive solutions. Another problem is the peculiarity of the writer’s handwriting which causes textual discrepancy. When it comes to selecting the main text source for the publication, the most difficult case is with “The Contaminated Family”. Although Tolstoy had finished the comedy, to this day we only have its unfinished copy as some manuscripts and the last version proofread by the author have not been preserved. The author of the article compares old publications of comedy (1928, 1930, 1936, 1982) and substantiates the main source for the academic edition. On the basis of detailed study of the preserved autographs and handwritten copies of Tolstoy’s unfinished works the progress of the writer’s work is shown, copyists’ work is analyzed and new interpretation of certain words is offered.