Zeitschriftenartikel zum Thema „LITERARY CRITICISM / Modern / 19th Century“
Um die anderen Arten von Veröffentlichungen zu diesem Thema anzuzeigen, folgen Sie diesem Link: LITERARY CRITICISM / Modern / 19th Century.
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit Top-50 Zeitschriftenartikel für die Forschung zum Thema "LITERARY CRITICISM / Modern / 19th Century" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Sehen Sie die Zeitschriftenartikel für verschiedene Spezialgebieten durch und erstellen Sie Ihre Bibliographie auf korrekte Weise.
1
Sokolinsky, Evgeniy K. „Patriotic magazines of the first third of the 19th century“. Vestnik of Saint Petersburg State University of Culture, Nr. 4 (57) (2023): 179–88. http://dx.doi.org/10.30725/2619-0303-2023-4-179-188.
Der volle Inhalt der QuelleAnnotation:
Three magazines of the 19th century are considered as models of historical and patriotic publications. S. N. Glinka’s «Russkiy Vestnik» was devoted to issues of national identity and pursued the goals of national education. N. I. Grech’s “Syn Otechestva” developed “permitted” military-patriotic themes for three years, and from 1815, it turned into a typical literary and artistic magazine. P. P. Svinin’s “Otechestvnnye zapiski” that came out after the Napoleonic wars sought to popularize various aspects of national life. During the analysis, the vulgar sociological assessments of Soviet literary criticism of three magazines are corrected and the modern understanding of patriotism, associated with the term “conservatism”, is characterized.
2
Al-Dabbagh, Abdulla. „The anti-romantic reaction in modern(ist) literary criticism“. Acta Neophilologica 47, Nr. 1-2 (16.12.2014): 55–67. http://dx.doi.org/10.4312/an.47.1-2.55-67.
Der volle Inhalt der QuelleAnnotation:
While the antagonism of modernism to realism has often been commented upon, its equally vehement rejection of romanticism has not been as widely discussed. Yet, if modernism compromised at times with realism or, at least, with a "naturalistic" version of realism, its total antipathy to the fundamentals of romanticism has been absolute. This was a modernist trend that covered both literature and criticism and a modernist characteristic that extended from German philosophers, French poets to British and American professors of literature. Names as diverse as Paul Valery, Charles Maurras and F.R. Leavis shared a common anti-romantic outlook. Many of the important modernist literary trends like the Anglo-American imagism, French surrealism, German expressionism and Italian futurism have been antagonistic not only to ordinary realism as a relic of the 19th century, but also, and fundamentally, to that century's romanticism. In nihilistically breaking with everything from the past, or at least the immediate past, they were by definition anti-romantics. Even writers like Bernard Shaw or Bertolt Brecht and critics like Raymond Williams or George Lukacs, who would generally be regarded as in the pro-realist camp, have, at times, exhibited, to the extent that they were afflicted with the modernist ethos, strong anti-romantic tendencies.
3
Rozov, Aleksandr Nikolaevich. „THE IMAGE OF THE DEACON IN THE RUSSIAN LITERATURE OF THE SECOND HALF OF THE 19TH CENTURY — EARLY 20TH CENTURY, AS ASSESSED BY THE CLERICAL JOURNALISM“. Russkaya literatura 2 (2023): 118–27. http://dx.doi.org/10.31860/0131-6095-2023-2-118-127.
Der volle Inhalt der QuelleAnnotation:
The article examines the works of the writers of the 19–20th centuries, where various types of deacons are represented, assessed either as positive or as negative types by the clerical criticism. The images of the deacons did not reflect the sophisticated reality of clerical practices. Still, literary works familiarized the wider readership with these practices. Clerical critics analyzed the respective works from the religious and moral point of view, and modern literary scholars do not always fully take this into account.
4
Rozov, Aleksandr Nikolaevich. „THE IMAGE OF THE DEACON IN THE RUSSIAN LITERATURE OF THE SECOND HALF OF THE 19TH CENTURY — EARLY 20TH CENTURY, AS ASSESSED BY THE CLERICAL JOURNALISM“. Russkaya literatura 2 (2023): 118–29. http://dx.doi.org/10.31860/0131-6095-2023-2-118-129.
Der volle Inhalt der QuelleAnnotation:
The article examines the works of the writers of the 19–20th centuries, where various types of deacons are represented, assessed either as positive or as negative types by the clerical criticism. The images of the deacons did not refl ect the sophisticated reality of clerical practices. Still, literary works familiarized the wider readership with these practices. Clerical critics analyzed the respective works from the religious and moral point of view, and modern literary scholars do not always fully take this into account.
5
Aleksandrova-Osokina, O. N., und K. A. Vereshchagina. „Poetics of Book “Journey of Russian Imperial Sloop “Diana” from Kronstadt to Kamchatka ...” by V. M. Golovnin: Features of Documentary and Fiction Prose“. Nauchnyi dialog 11, Nr. 10 (05.01.2023): 177–94. http://dx.doi.org/10.24224/2227-1295-2022-11-10-177-194.
Der volle Inhalt der QuelleAnnotation:
Observations are presented on the features of the documentary and artistic organization of the book by V. M. Golovnin “Journey of Russian Imperial Sloop “Diana” from Kronstadt to Kamchatka...” (1819). Such issues as the thematic content of “Journey...”, the role of the author’s worldview in creating a single artistic whole, and the features of the aesthetic organization of documentary material are considered. The significance of the study is seen in the need to update the memory of the personality and literary work of V. M. Golovnin, an outstanding figure of Russian culture at the beginning of the 19th century. The presented material will allow supplementing with new facts the picture of the genre and style genesis of documentary and artistic genres in the Russian historical and literary process of the early 19th century. The relevance of the study is determined by the attention of modern literary criticism to the poetics of documentary and artistic genres. The novelty of the research is seen in the appeal to a little-known work of Russian literature of the first third of the 19th century. It is reported that the author showed the maritime way of life with its regulations, traditions, experience of intercultural communication. The work is considered in the main thematic lines: everyday life of a round-the-world sea expedition, seascape, battle studies, ethnographic sketches. It is noted that a value-semantic principle is revealed behind the empirical material, which gives the narrative artistic completeness and deeply brings Golovnin's “Journey ...” with the tradition of Russian classical literature.
6
Majer-Bobetko, Sanja. „Between music and ideologies: Croatian music criticism from the beginning to World War II“. Muzyka 63, Nr. 4 (31.12.2018): 55–64. http://dx.doi.org/10.36744/m.344.
Der volle Inhalt der QuelleAnnotation:
As the Croatian lands were exposed to often aggressive Austrian, Hungarian, and Italian politics until WWI and in some regions even later, so Croatian music criticism was written in the Croatian, German and Italian languages. To the best of our knowledge, the history of Croatian music criticism began in 1826 in the literary and entertainment journal Luna, and was written by an anonymous author in the German language.A forum for Croatian language music criticism was opened in Novine Horvatzke, i.e. in its literary supplement Danica horvatska, slavonska i dalmatinska in 1835, which officially started to promote the Croatian National Revival, setting in motion the process of constituting the Croatian nation in the modern sense of the word. However, those articles cannot be considered musical criticism, at least not in the modern sense of the word, as they never went beyond the level of mere journalistic reports. The first music criticism in the Croatian language in the true sense of the word is generally considered a very comprehensive text by a poet Stanko Vraz (1810-51) about a performance of the first Croatian national opera Ljubav i zloba (Love and malice) by Vatroslav Lisinski (1819-54) from 1846. In terms of its criteria for judgement, that criticism proved to become a model for the majority of 19th-century and later Croatian music criticism. Two judgement criteria are clearly expressed within it: national and artistic.Regardless of whether we are dealing with 1) ideological-utilitarian criticism, which was directed towards promoting the national ideology (Franjo Ksaver Kuhač, 1834-1911; Antun Dobronić, 1878-1955), 2) impressionist criticism based on the critic’s subjective approach to particular work (Antun Gustav Matoš, 1873-1914; Milutin Cihlar Nehajev, 1880-1931; Nikola Polić, 1890-1960), or 3) Marxist criticism (Pavao Markovac, 1903-41), we may observe the above mentioned two basic criteria. Only at the end of the period under consideration the composer Milo Cipra (1906-85) focused his interest on immanent artistic values, shunning any ideological utilitarianism, and insisting on the highest artistic criteria.
7
Pervushin, Nikolay S. „Fear of Chaos: Sociological Interpretation of Demand for Detective Genre“. Chelovek 33, Nr. 1 (2022): 139. http://dx.doi.org/10.31857/s023620070019079-3.
Der volle Inhalt der QuelleAnnotation:
The essay offers a sociological analysis of the origin and popularity of the detective genre. There are many explanations for the phenomenon of the popularity of the detective genre, but they do not answer the question why the genre became relevant in the middle of the 19th century and remains so until now. Its genesis and role are interpreted in the middle and late 19th century and in the modern world. The moment when the detective genre emerged approximately coincides with the birth of classical sociological theories. Both sociology and the new literary genre are reflections on the changes that took place in the 19th century. The detective reflects current social problems and new technologies. The classic detective contains many typical features of positivist, functionalist, Weber and Marxist discourses. The essence of detective discourse is built into the ideas of faith in the scientific method and the morality of order, criticism of the capitalistic social system and the possibility of understanding social actions and motivation of different characters. The demand for a detective today is crucially connected with the rapid technological and social changes that take place today, and the Future Shock caused by them, described by Alvin Toffler. The pace of technological change is noticeably ahead of human adaptation to a new social reality. A person is forced to somehow endure or overcome this severe state for the psyche. Reading detective stories creates a short-term illusion of the possibility of mitigating and overcoming the Future Shock. However, reading or viewing a detective story does not provide a real chance to adapt to the liquid modernity.Such an important psychotherapeutic function is unique among literary and movie genres, so it can be predicted that detectives, despite the skepticism of many critics and intellectuals, will remain in demand and relevant in the future.
8
Flack, Corey. „Is Dante a pilgrim? Pilgrimage, material culture, and modern Dante criticism“. Forum Italicum: A Journal of Italian Studies 55, Nr. 2 (04.07.2021): 372–98. http://dx.doi.org/10.1177/00145858211021554.
Der volle Inhalt der QuelleAnnotation:
The phrase “Dante the pilgrim” has become commonplace within scholarship on the Commedia as a way to refer to the character within the text who travels the Christian afterlife, as distinct from “Dante the poet,” the voice which narrates the poem. Yet, despite such prevalence, the validity of the term “pilgrim” goes rather unquestioned by scholars. This study aims to challenge the label through Dante’s own definition of a peregrino in the Vita nuova as “chiunque è fuori de la sua patria” (XL.6), a definition that shows a more nuanced understanding of the term than modern scholarship acknowledges. Instead, by tracing out the legacy of the term “Dante the pilgrim” as emerging from late 19th-century criticism such as Francesco de Sanctis’s Storia della letteratura italiana, this article will show that the typical understanding of pilgrim ignores a central dimension of Dante’s own definition: a sense of physical displacement. For Dante, pilgrimage becomes constitutive of the virtual world in the poem, drawing off of material practices of travel to inform the physical experiences of the protagonist. This literal level, signified by an embodied protagonist in similar ways as pilgrims to holy sites interacted with those places, is fundamental for interpreting the larger theological truths Dante conveys, even in minute details such as kicking rocks in Inferno 12.
9
Kibenko, Elina. „Actualization of the Problem of Solitude in 19th and 20th-century Philosophy“. NaUKMA Research Papers in Philosophy and Religious Studies, Nr. 9-10 (20.01.2023): 49–59. http://dx.doi.org/10.18523/2617-1678.2022.9-10.49-59.
Der volle Inhalt der QuelleAnnotation:
The vast majority of current scientific research devoted to the phenomenon of solitude is performed within the framework of psychology, sociology, and literary criticism. However, these inquiries deal with specific manifestations of the multidimensional phenomenon of solitude, eliminating its nature and fundamental philosophical and anthropological essence, which is hidden behind secondary layers of empirics. The task of this investigation is to consider the phenomenon of solitude among representatives of the world’s philosophical thought of modern times, in whose teachings it has received the fullest expression, in particular among representatives of existentialism, philosophy of life, phenomenology, and psychodynamic theory, including K. Jaspers, N. Berdyaev, M. Buber, M. Heidegger, E. Levinas. Despite the noticeable outburst of engagement with the phenomenon of solitude in the philosophy in the mid 19th – mid 20th centuries, interest in it did not disappear, as evidenced by current works designed to bridge the gap identified by predecessors. Despite the differences in views on the nature of solitude and its impact on the personality, as well as on the moment when a person encounters their solitude, these thinkers have something in common – they all necessarily consider solitude through the lens of the Other (be it a specific individual or a whole society) and recognize it a necessary condition for both true knowledge of things and self-knowledge. Regarding the discrepancies in views on solitude, they may be caused by the “terminological chaos” that still prevails when considering this issue. The terms “seclusion”, “alienation”, “isolation”, “loneliness”, and actually “solitude” are used to denote various manifestations of this phenomenon, often without distinguishing them; classifications of solitude are built through descriptive definitions. The lack of clarity should be overcome by distinguishing related but different concepts and developing a unified approach to the relationship between the essence of the concept and its various lexical expressions. Such a clarification is achieved in this article by identifying commonalities and indicating differences in the works of modern philosophers, who were most interested in the phenomenon of solitude, assigning it an important place in their own philosophical explorations.
10
Borunov, A. B. „Game Strategies as a Principle of Creating Supertext Unity in Work of B. Akunin“. Nauchnyi dialog 12, Nr. 1 (07.02.2023): 213–31. http://dx.doi.org/10.24224/2227-1295-2023-12-1-213-231.
Der volle Inhalt der QuelleAnnotation:
The article is devoted to the strategies for creating a prosaic super-cycle by Boris Akunin by referring to the technique of the game as a through cycle-forming principle. The relevance of the proposed analysis is due to the fact that the potential for creating principles for creating supertextual unity requires additional research in Russian literary criticism, since in modern literature a number of authors resort to this particular model of arranging their works (in addition to Akunin, these are, for example, Pelevin, Rubina, Vodolazkin, etc.). The novelty of the study is due to the research of how the works of the “Fandorin corpus” are combined into a supertext integrity due to a number of game tactics, including the tactics of an enigmatic-game dialogue with the reader. The classic canon of the detective, set by 19th-century authors, involves a game with the reader based on the calculation of the criminal, and this game is hermetic. Akunin, explicitly referring to the 19th century in the annotations to the New Detective series, opens the game system in the text of the detective story, offering the reader to enter an interactive quest at will. The same principle is used in other works of the “Fandorin corpus”.
11
Franek, Ladislav. „L’essence éthique du dialogue culturel“. Interlitteraria 25, Nr. 2 (31.12.2020): 298–309. http://dx.doi.org/10.12697/il.2020.25.2.3.
Der volle Inhalt der QuelleAnnotation:
The ethical essence of cultural dialogue. The definition of comparative literary studies in Slovakia. Historical poetics in the works of D. Ďurišin, focused on the typological essence of literary phenomena on the basis of interrelating theoretical and developmental aspects of national literature. The differences of Slovak methodology from Western positivist models of the study of interliterariness. Parallel existence of the principles of literary history and criticism in the reception analyses of Russian, German and French literatures by older Slovak scholars. The onset of realism in Slovak literature at the end of the 19th century (S. Hurban Vajanský). The important contribution of J. Felix’s critical reflection of universalist tendencies in European and esp. modern French writing. The complexity of organically incorporating these impulses into the context of Slovak literature as a result of the provincial character of a “small” nation. The wealth of translations from contemporary world literatures and its positive impact on the work of many Slovak writers in spite of the discontinuity of research in this area after 1989. Urgent need to return to similar forms of literary-cultural reflection and self-reflection through reviving an intensive philological, linguistic, theoretical-critical and historical study at our universities.
12
Franek, Ladislav. „L’essence éthique du dialogue culturel“. Interlitteraria 25, Nr. 2 (31.12.2020): 298–309. http://dx.doi.org/10.12697/il.2020.25.2.3.
Der volle Inhalt der QuelleAnnotation:
The ethical essence of cultural dialogue. The definition of comparative literary studies in Slovakia. Historical poetics in the works of D. Ďurišin, focused on the typological essence of literary phenomena on the basis of interrelating theoretical and developmental aspects of national literature. The differences of Slovak methodology from Western positivist models of the study of interliterariness. Parallel existence of the principles of literary history and criticism in the reception analyses of Russian, German and French literatures by older Slovak scholars. The onset of realism in Slovak literature at the end of the 19th century (S. Hurban Vajanský). The important contribution of J. Felix’s critical reflection of universalist tendencies in European and esp. modern French writing. The complexity of organically incorporating these impulses into the context of Slovak literature as a result of the provincial character of a “small” nation. The wealth of translations from contemporary world literatures and its positive impact on the work of many Slovak writers in spite of the discontinuity of research in this area after 1989. Urgent need to return to similar forms of literary-cultural reflection and self-reflection through reviving an intensive philological, linguistic, theoretical-critical and historical study at our universities.
13
Chugunov, D. „The national myth in S. Clarke’s novel “Jonathan Strange & Mr Norrell”“. Philology and Culture, Nr. 2 (25.06.2024): 233–37. http://dx.doi.org/10.26907/2782-4756-2024-76-2-233-237.
Der volle Inhalt der QuelleAnnotation:
The purpose of this article is to study the constituent elements of the English national myth, embodied in the novel “Jonathan Strange & Mr. Norrell” by Susanna Clark (2004). The work gained genuine success immediately after its appearance, but the reasons for this success have not been investigated to date. The literary criticism focused mainly on the way S. Clarke followed the English literary tradition associated with the names of Charles Dickens, Jane Austen, Walter Scott and other writers of the 19th century. The article traces S. Clark’s skill to handle different sides of the national myth, presented in the novel, by creating characteristic images, typical forms of private and public existence, images of English ethnopsychology, etc. S. Clark introduces into the narrative the oppositions characteristic of the national myth: “we – they”, “friend – foe”, defining the plot conflicts. The result of this is an absolute harmony of the novel pathos with the hypostases of modern English consciousness and an artistic summation of England’s place in the world, its role in human history.
14
van der Liet, Henk. „”Jeg kunde for Længsel ej sove” Holger Drachmann og den erotiske rejse“. European Journal of Scandinavian Studies 49, Nr. 2 (25.10.2019): 375–91. http://dx.doi.org/10.1515/ejss-2019-0028.
Der volle Inhalt der QuelleAnnotation:
Abstract Inspired by the spatial turn in literary criticism, this article seeks to combine a traditional biographical approach of the versatile oeuvre of the late 19th Century Danish poet, painter and bon vivant Holger Drachmann (1846–1908), with a space-oriented perspective. One of the key concepts of the Scandinavian literature of the latter half of the 19th Century, the era of the so-called Modern Breakthrough, was to promote a literature that dealt with contemporary social issues; at the same time, many of the artists who adhered to this program turned their backs on everyday routine, by frequently travelling and living abroad for long periods. Especially Southern Europe, and in particular Italy was a favorite destination. In Drachmann’s oeuvre too, the lure of the South is omnipresent, but his initial infatuation with Italy shifts radically between his first (1867) and second (1876) journey to the country, from an Orientalist notion of Italy as an eroticised Nirvana, to a horrendously degenerate country. This case study proposes a spatial reading of one of Drachmann’s still well-known poems, ”Sakuntala” (1879), where the lure of travel, exoticism and erotic enticement are brought together in a poem, in which travel is a mere metaphor for the state of mind in which exotic landscapes morph into erotic spaces, while eroticist desire remains forever unfulfilled.
15
Kirillova, Natalia B. „Metamorphoses of Russian Mass Culture“. Observatory of Culture 16, Nr. 5 (04.12.2019): 536–41. http://dx.doi.org/10.25281/2072-3156-2019-16-5-536-541.
Der volle Inhalt der QuelleAnnotation:
The article is a review of the monograph “Russian Mass Culture: From Baroque to Post-Modernism” by Doctor of Philosophy, Professor of the Russian State University for the Humanities, Academician of the Russian Academy of Natural Sciences I.V. Kondakov. The book, which consists of seven chapters, is devoted to the history of the emergence and development of mass culture in Russia from ancient times to the beginning of the 20th century. Studying its origins dating back to antiquity, the author proves that Russian mass culture received an “impulse of independence” in the 17th century, as the culture was becoming personified, which means a personal principle was coming forward in it. It was during that period, associated with the emergence of Russian Baroque, that two paradigms appeared — Pre-Renaissance and Pre-Enlightenment, which led to the subsequent juxtaposition of “mass” and “elite” cultures in Russia first before Peter the Great and then after his period. The author gives an interesting assessment to the period of the Russian Enlightenment of the 18th century, when there happened a demarcation of the noble culture into liberal-democratic and conservative directions. Moreover, the former contributes to “massification”, and the latter – to “individualization” of Russian culture. The crisis of the classical paradigm in the 19th century, including the “literature-centrism” and “critical-centrism” of Russian culture, ultimately led to the formation of new artistic movements, new genres and styles, that is, to the modernization of Russian culture at the turn of the 19th—20th centuries. In this regard, the Silver Age turned out to be an “exquisite and ephemeral construction of the Russian Renaissance” in paradoxical forms of symbolism and modernism.The review reflected the structural and substantive aspects of I.V. Kondakov’s monograph, the features of his theoretical analysis, the specifics of style and language. The article evaluates the publication, reveals its uniqueness and scientific significance for modern humanitarian science, including history and cultural studies, literary criticism and philosophy, art criticism and aesthetics.
16
Oancea, Ana. „Edison's Modern Legend in Villiers' L'Eve future“. Nordlit 15, Nr. 2 (26.03.2012): 173. http://dx.doi.org/10.7557/13.2053.
Der volle Inhalt der QuelleAnnotation:
This paper analyzes the characterization of Thomas Edison in Villiers de l’Isle-Adam’s L’Eve future (1886) in an effort to explain how the author constructs this figure’s modern legend in the novel’s “oeuvre d’art-métaphysique.” Choosing an inventor protagonist in a work that recommends itself on its serious, artistic purpose stands out in late 19th century literature because, at the time, such characters are associated with popular literature. Villiers stresses the uniqueness of his Edison by suggesting comparisons with such literary and mythological precursors as Faust and Prometheus only to show that his protagonist has little in common with them: this inventor looks down upon humanity and wishes to reform it, while being arrogant and happy in his lucrative business.Edison’s seemingly occult task is to copy a woman, and this paper argues he achieves success not because he produces a functioning android but because he presents his machine as an occult device to his decadent interlocutor. This spectacular marketing recalls that of the phonograph, as well as the staging of devices in Edison’s stands in theInternational and Electrical Expositions of the 1870s and 1880s. Villiers’ depiction of the protagonist as astute showman does not, however, amount to a criticism of his technological abilities. Instead, the author’s emphasis on these characteristics goes to solidify his legend as a modern, unique tale of economic success through applied science.
17
Лисанець, Юлія Валеріївна, Олена Миколаївна Бєляєва und Інеса Віталіївна Роженко. „МОТИВИ ЕПІДЕМІЇ ТА ПАНДЕМІЇ В ЛІТЕРАТУРНО-МЕДИЧНОМУ ДИСКУРСІ ПРОЗИ США“. Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 1, Nr. 99 (2022): 69–84. http://dx.doi.org/10.34142/2312-1076.2022.1.99.05.
Der volle Inhalt der QuelleAnnotation:
The aim of this research is to examine the narrative representation of epidemics in the 20th century U.S. literature, using the methods of narratological analysis and receptive aesthetics. The study relies on the corpus of the 20th century U.S. novels: Scarlet Plague (1912) by Jack London, Earth Abides (1949) by George R. Stewart, I am Legend (1954) by Richard Matheson, The Stand (1978) by Stephen King, Contagion (1996) by Robin Cook, and Darwin’s Radio (1999) by Greg Bear. The aspects of epidemic representation in fiction have been studied using modern literary criticism research in the areas of narratology and receptive aesthetics, which determines the relevance of the present paper. The motif is rooted in the 19th-century Romantic literature (E.A. Poe’s fiction); it acquires further extensive development in the 20th century science fiction, horror, post-apocalyptic (dystopian) and contemporary medical thriller genres. In the second half of the 20th century, by using the motifs of epidemic and pandemic, the writers contemplate upon the issues of science, its capacities, limitations and potential hazards. In the frame of examined novels, the pandemic topos serves as a tool for «reloading» the human population on earth, «resetting» humanity and bringing it back ad fonts. It also acts as a reminder about the dangers of negligence and misuse of research advances. In such a manner, the authors caution the readers against the potential dangers of the 20th-century advances. In the light of COVID-19 pandemic, the study of the literary depiction of this motif in national literatures and different historical periods becomes especially relevant, because it allows us to re-consider this phenomenon and thus to try to help the mankind to learn one's lesson and perhaps avoid similar calamities in the future.
18
Neklyudova, Maria. „«Мертвые Цари всегда должны по смерти своей быть судимы»: Посмертная судьба одного древнеегипетского обычая в русской и европейской словесности XVI – XIX вв. [“Dead Kings Must Always be Judged after Their Demise”: The Afterlife of an Ancient Egyptian Custom in the Russian and European Literature of the 16th to 19th Centuries]“. Slavica Revalensia 8 (2021): 9–47. http://dx.doi.org/10.22601/sr.2021.08.01.
Der volle Inhalt der QuelleAnnotation:
In his Bibliotheca historica, Diodorus Siculus described a peculiar Egyptian custom of judging all the dead (including the pharaohs) before their burial. The Greek historian saw it as a guarantee of Egypt’s prosperity, since the fear of being deprived of the right to burial served as a moral imperative. This story of an Egyptian custom fascinated the early modern authors, from lawyers to novelists, who often retold it in their own manner. Their interpretations varied depending on the political context: from the traditional “lesson to sovereigns” to a reassessment of the role of the subject and the duties of the orator. This article traces several intellectual trajectories that show the use and misuse of this Egyptian custom from Montaigne to Bossuet and then to Rousseau—and finally its adaptation by Pushkin and Vyazemsky, who most likely became acquainted with it through the mediation of French literature. The article was written in the framework (and with the generous support) of the RANEPA (ШАГИ РАНХиГС) state assignment research program. KEYWORDS: 16th to 19th-Century European and Russian Literature, Diodorus Siculus (1st century BC), Jean-Jacques Rousseau (1712—1778), Alexander Pushkin (1799—1837), Prince Pyotr Vyazemsky (1792—1878), Egyptian Сourt, Locus communis, Political Rhetoric, Literary Criticism, Pantheonization, History of Ideas.
19
Taufiq Ahmad Dardiri, Moh Wakhid Hidayat, Sangidu, Fadlil Munawwar Manshur,. „PETA KAJIAN ATAS NOVEL SEJARAH ISLAM KARYA JURJĪ ZAIDĀN“. Jurnal CMES 12, Nr. 1 (09.10.2019): 4. http://dx.doi.org/10.20961/cmes.12.1.34867.
Der volle Inhalt der QuelleAnnotation:
The novel of Islamic history by Jurjī Zaidān is one of the works of Modern Arabic literature which appeared at the end of the 19th century. Since it was first published, as a serial story in al-Hilal magazine, this novel has been read and has received a great response. Zaidān composed 22 titles of novels from 1891 to 1914. After Zaidān's death in 1914, his novels were still read by the public, reprinted, and even translated in various languages in the world. Zaidān’s Islamic historical novels still exist, both within the scope of modern Arabic literature and in Arabic thought, with many studies to date. Research on this novel is reviewed and analyzed to reveal the diversity of perspectives to be mapped. Found nine perspectives in the study of Islamic historical novels; the perspective of the development of Arabic novel genres, the perspective of authorship and pioneering in Arabic novel genre, the perspective of the popularization of Arab-Islamic history, critical perspectives of Islamic historical facts, intrinsic literary criticism perspective, narrative structure perspective, feminist perspective, perspective modern Arab identity, and Arab nationalism perspective. The mapping of studies become the positioning of further Islamic historical novel studies, and at the same time can be a model of study for the analysis of other historical novels that develop in Arabic literature or other national literature.
20
Baydalova, Ekaterina. „Topos of the city in contemporary Ukrainian scholarship“. Slavic Almanac, Nr. 3-4 (2023): 410–27. http://dx.doi.org/10.31168/2073-5731.2023.3-4.21.
Der volle Inhalt der QuelleAnnotation:
The article examines the history and current state of the study of the topos of the city in modern Ukrainian literary criticism (2000–2010s). The city and urban space entered Ukrainian literature relatively late (through the prose of I. Nechuy-Levitsky, P. Mirny, I. Franko, V. Vynnychenko). This happened under the influence of the industrialization of the state and society in the late 19th and early 20th centuries, but the “urban text” of Ukrainian culture continued to form throughout the last century. In the studies of Ukrainian scientists addressing urban topics, the main attention is paid to the opposition of urban and rustic discourses, studies of the topos of the city in certain literary directions, phenomena, works of specific writers, as well as the main national “urban texts” – Kyiv and Lviv, – their connections with the history of these cities and the development of various national literatures referring to these texts: Austrian, Polish, Jewish, Russian, Ukrainian. Research is underway on “texts” of other cities (Poltava, Yekaterinoslav (Dnepropetrovsk / Dnepr), Odessa, Donetsk, Kharkov, etc.), including provincial towns that are an integral part of Ukrainian culture. A relatively small number of works are devoted to theoretical problems. The methodology for studying the topos of the city is, as a rule, based on a structuralist approach based on the achievements of the Tartu-Moscow semiotic school.
21
Galtsova, E. D. „RUSSIAN CONTEXTS OF THE WORKS OF CHARLES MORICE“. Lomonosov Journal of Philology, Nr. 5, 2023 (23.10.2023): 103–14. http://dx.doi.org/10.55959/msu0130-0075-9-2023-47-05-8.
Der volle Inhalt der QuelleAnnotation:
The article is devoted to the influence of ‘Russian fashion’ on the work of the French symbolist Charles Morice (1860–1919), who in the 1880s participated in translations of F.M. Dostoevsky’s and N.A. Nekrasov’s writings into French. The methodological basis of the article is the combination of a historical and literary approach with the study of the essence of cultural clichés in the field of literary relationships (Russian literature — French literature). The article is built on the littlestudied facts of the life and work of Morice, undeservedly forgotten in modern literary criticism both in Russia and in France. The analysis of the actual connections of Morice with cultural mediators (translator Ilya Danilovich Halperin-Kaminsky, diplomat and novelist Eugène Melchior de Vogüé), and the general context of the perception of Russian culture in France in the last quarter of the 19th century, when Russian literature for the first time in history began to be perceived as a source of inspiration for French. Being greatly influenced by the ideas of Vogüé, developed in the book Russian Novel (1886), Morice sees in Russian literature a reflection of his mystical and social concepts. Religious searches of Tolstoy and especially religious and philosophical ideas of Dostoevsky were influential in the conversion of Morice to Catholicism. The article deals with cases of direct reception of both ideas about Russian literature and the work of individual writers (mainly Dostoevsky) in the literary books of Morice, as well as in his works, the unfinished novel The Lonely Spirit (1886) and the play He is Risen! (1911).
22
Fedorov, Alexey V. „Alexey Konstantinovich Tolstoy as a Discovery“. Two centuries of the Russian classics 3, Nr. 3 (2021): 206–17. http://dx.doi.org/10.22455/2868-7494-2021-3-3-206-217.
Der volle Inhalt der QuelleAnnotation:
In the review, V. A. Kotelnikov’s new book “Alexei Konstantinovich Tolstoy in Life and Literature” is regarded as a scientific discovery. The author lists various aspects of the great work that became the discovery of the personality of Alexei Konstantinovich Tolstoy (the circumstances of his life, relations with contemporaries, opinions on pressing issues, philosophical reflections, etc.), the discovery of A. K. Tolstoy’s works, keeping many mysteries, the discovery of some of his remarkable contemporaries, the discovery of the time of the earthly existence of the writer and poet who lived and worked in a difficult transitional historical era. The review notes that the book by V. A. Kotelnikov is remarkable for the discovery of the historical and cultural era of the middle of the 19th century in her biggest achievements, characteristic tendencies. The author emphasizes the breadth and encyclopedic knowledge of the author of the new research, which is a necessary condition for creating a book about a personality of the scale of A. K. Tolstoy. The style of the new edition is assessed, the main substantive aspects considered by the author are given, the importance of labor in modern literary criticism is shown. The book by V. A. Kotelnikov through dialogue, analogies and comparisons with the creative personality of the writer of the golden age of the classics also becomes a discovery of himself for the modern reader.
23
Fedorov, Alexey V. „Alexey Konstantinovich Tolstoy as a Discovery“. Two centuries of the Russian classics 3, Nr. 3 (2021): 206–17. http://dx.doi.org/10.22455/2686-7494-2021-3-3-206-217.
Der volle Inhalt der QuelleAnnotation:
In the review, V. A. Kotelnikov’s new book “Alexei Konstantinovich Tolstoy in Life and Literature” is regarded as a scientific discovery. The author lists various aspects of the great work that became the discovery of the personality of Alexei Konstantinovich Tolstoy (the circumstances of his life, relations with contemporaries, opinions on pressing issues, philosophical reflections, etc.), the discovery of A. K. Tolstoy’s works, keeping many mysteries, the discovery of some of his remarkable contemporaries, the discovery of the time of the earthly existence of the writer and poet who lived and worked in a difficult transitional historical era. The review notes that the book by V. A. Kotelnikov is remarkable for the discovery of the historical and cultural era of the middle of the 19th century in her biggest achievements, characteristic tendencies. The author emphasizes the breadth and encyclopedic knowledge of the author of the new research, which is a necessary condition for creating a book about a personality of the scale of A. K. Tolstoy. The style of the new edition is assessed, the main substantive aspects considered by the author are given, the importance of labor in modern literary criticism is shown. The book by V. A. Kotelnikov through dialogue, analogies and comparisons with the creative personality of the writer of the golden age of the classics also becomes a discovery of himself for the modern reader.
24
Solis, Luis. „Three Voices in the Wake of an Earthquake“. University of Bucharest Review. Literary and Cultural Studies Series 9, Nr. 2 (19.11.2020): 34–43. http://dx.doi.org/10.31178/ubr.9.2.4.
Der volle Inhalt der QuelleAnnotation:
Like practically every single country, Mexico has had its fair share of pain and trauma. Bloodshed and utter devastation are rife in Mexico’s modern history. To civil wars and —in recent years— drug-related violence, one has to add the destruction and horror caused by earthquakes. The seism that devastated Mexico City on the 19th of September was the most destructive and painful in living memory. As an uncanny coincidence, also on the 19th of September, but in 2017, another earthquake hit the capital. Perhaps not surprisingly, Mexican novelists and poets have written profusely about their country’s long history of seismic destruction. Poet and journalist Manuel Gutiérrez Nájera —who ushered Mexican letters into Modernism— chronicled the earthquake of the 2nd of November 1894. For his part, Juan Rulfo — arguably Mexico’s most important fiction writer of the twentieth century— penned the “The Day of the Earthquake”, included in his collection of short stories The Plain in Flames, published in 1953. Rulfo uses a natural disaster and its toll as a metaphor for the unbridgeable gap between the political elites and the dispossessed. Finally, José Emilio Pacheco published a series of poems on the 1985 earthquake, the aftermath of which was felt not only in terms of human suffering, but also as a watershed event that ultimately resulted in social and political upheaval. An idiosyncratic brand of humour, trenchant criticism, and a sense of the ineffable before the enormity of utter devastation are some of the ways three of Mexico’s best poets and writers have found to cope with catastrophe and trauma.
25
IBRAHIM, ROSNANI, MUAMMAR GHADDAFI HANAFIAH und SHAIFU BAHRI MD RADZI. „SYAIR DIRAJA MELAYU PERAK-JOHOR ERA KONTEMPORARI: SATU PERBANDINGAN KEPENGARANGAN (Royal Syair in the Contemporary Era of Perak-Johor: Comparison of Authorship)“. MALIM: JURNAL PENGAJIAN UMUM ASIA TENGGARA (SEA JOURNAL OF GENERAL STUDIES) 22, Nr. 1 (20.11.2021): 290–307. http://dx.doi.org/10.17576/malim-2021-2201-22.
Der volle Inhalt der QuelleAnnotation:
The 16th century to the end of the 19th century, storytelling and praise of the sultan became the idea of authorship. This storytelling and praise are conveyed by making poetry his platform. The last poem to record the history of this Royal group was the Syair Riwayat Yang Amat Mulia Tengku Ampuan Besar Pahang (1953). However, such influence is less used when modern literature develops. Western powers bring a new diversity of forms and genres in creation. After 56 years, two works have emerged, Syair Sultan Azlan Shah Berjiwa Rakyat (2009), Mohd Ibrahim bin Said and Syair DYMM Sultan Ibrahim Ibni Almarhum Sultan Iskandar (2018) by Maskiah binti Masrom in this contemporary era. Kings and sultans became objects of storytelling in both works. The question is, what are the scopes or criteria that are the ideas of their authorship? The scope or criterion that became the idea of authorship used by both authors in presenting storytelling about their rulers. Both texts of the Royal poetry were sampled. Comparative methods are applied to examine their influence in presenting the idea of Royal history recordings in the contemporary era. Intrinsically research methods on study samples were also used. The findings found that the king's biography became the scope or criterion that became the idea of authorship for both authors in praise and upholding his king. Keywords: Literary criticism; Peering; Authorship; Royal syair; Contemporary syair
26
Krom, Anna E. „Between Two Worlds: the Image of a Dybbuk on the Modern Opera Stage“. Observatory of Culture 21, Nr. 1 (06.03.2024): 86–94. http://dx.doi.org/10.25281/2072-3156-2024-21-1-86-94.
Der volle Inhalt der QuelleAnnotation:
The article is devoted to the theme of the artistic embodiment of the Hebrew legend of the dybbuk on the modern opera stage. The legends about the restless soul of a sinner, “stuck” between two worlds — the world of the living and the world of the dead — are reflected in the works of famous Jewish writers of the turn of the 19th—20th centuries. They received their first vivid refraction in drama in the play “Between Two Worlds (Dybbuk)” (1915) by the outstanding folklorist and ethnographer Semyon Akimovich Ansky. The story of the dybbuk, heard by Anton during folklore expeditions in Volhynia and Podolia, is reinterpreted by the playwright, “overgrown” with complex literary and philosophical connotations. The dramatic play is literally saturated with music: songs, dances, prayers and Hasidic melodies, one of which — “Mipney ma” in the genre of nigun — becomes the leitmotif of the work. The masterpiece of Ansky, reflecting the specifics of the everyday, cultural and religious life of the Hasidic community of the early twentieth century, gave rise to an extensive body of musical and theatrical works — more than ten over the last century (operas by L. Rocca, D. Tamkin, ballet by L. Bernstein, etc.). The article discusses the multimedia chamber opera “Dybbuk. Between Two Worlds” (2007) by the Israeli-American composer Ofer Ben-Amots through the prism of a dialogue with the original source. Previously, Ben-Amots’s musical work had not been studied in Russian art criticism, which predetermined the novelty of the chosen topic. The musician interprets the main ideas of Ansky’s dramatic play in his own way, presenting the image of the dybbuk as an allegory of the “borderline” existence between two worlds, turns to the traditional musical culture of Judaism (conducts the nigun “Mipney Ma” as the leitmotif of the opera, brings to the fore the timbres of the violin and clarinet, uses special techniques of sound production on these instruments associated with music playing in Klezmer chapels, stylizes the folklore of Jewish towns).
27
Zabiyako, Anna A., und Wang Yuqi. „The Image of the Perception of the Japanese and Japan in the Pre-Revolutionary Experience of Artistic Reflection: The Genre Aspect“. Humanitarian Vector 17, Nr. 1 (Februar 2022): 19–28. http://dx.doi.org/10.21209/1996-7853-2022-17-1-19-28.
Der volle Inhalt der QuelleAnnotation:
The relevance of the research is determined by the interest of modern literary criticism in the imagological aspects and the problem of developing a research strategy in relation to this kind of texts. The novelty of the work is defined by the genre approach to the study of the image of perception of Japan and the Japanese in Russian pre-revolutionary literature dedicated to the events of the Russian-Japanese war, the introduction of previously unknown texts into scientific circulation, a comparative analysis of narrative strategies that determine the genre specificity of each text. The purpose of the work is to explicate the genre originality of works on the RussianJapanese war, which determines the perspective of the pre-revolutionary artistic reception of the image of perception of Japan and the Japanese in Russia. The methodology is based on an interdisciplinary approach that underpins the imagological paradigm of research. The authors rely on Russian and Chinese works on the history of Japan, Russian-Japanese relations, ethnography of Japan, ethnopsychology, religious studies, on the broad context of imagological research; apply historical-literary, comparative-historical, immanent analysis methods. The complex research is based on modern works concerning the problems of genre studies. The article traces the path of transformation of perceptions of Japan and the Japanese in Russian literature since the middle of the 19th century to the beginning of 20th century which is determined by the genre task of the works: from the first travelogues to the jingoistic notes in periodicals and further to “pacifist” fiction and post-war artistic experiences – the spy and detective text by A. I. Kuprin, the military diaries by V. V. Veresaev, a children’s ethnographic story by I. I. Mitropolsky. We conclude that the tragic and inglorious experience of the Russian-Japanese war pushed the horizons of not only the scientific comprehension of Japan and the Japanese by Russian scientists but also giving development to various genres of Russian literature opened the artistic possibilities of new ethnocultural and ethnopsychological experiences of self-knowledge of Russianness and Russians.
28
Евдокимова, Ольга Константиновна. „DOMINANT CONCEPT IN THE STORY OF A. P. CHEKHOV “FEAR"“. Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev, Nr. 4(109) (26.01.2021): 12–19. http://dx.doi.org/10.37972/chgpu.2020.109.4.002.
Der volle Inhalt der QuelleAnnotation:
Данная статья посвящена рассказу А. П. Чехова «Страх» (1892), а в центре внимания - проблема изучения особенностей созданного писателем художественного мира посредством концепта в его литературоведческом понимании. Концепт «страх» выступает в качестве доминантного в анализируемом произведении. Рассказ «Страх» нечасто становится предметом отдельного изучения в чеховедении, между тем в этом произведении выражено одно из преобладающих настроений чеховского времени и соответственно социально-психологический тип поведения, ставший характерным для русского общества в конце XIX века. В работе представлена история вопроса в связи с понятием «концепт» и рассказом «Страх» в современном литературоведении. Особый акцент сделан на содержании анализируемого концепта, который является принципиально важным для понимания картины мира, созданной писателем в своих прозаических произведениях в конце XIX века. В этой связи рассказ «Страх» рассматривается в сопоставлении с теми рассказами писателя, где слова «страх», «страшный» выносятся в заглавие. Особое внимание в статье уделено природе страха, обусловленного жизнью, что находит отражение в такой семантической составляющей концепта, как парадоксальность, которая свойственна и другим чеховским рассказам. His article is devoted to the story of A. P. Chekhov “Fear” (1892), and the focus is on the problem of studying the features of the artistic world created by the writer through the concept in its literary understanding. The article focuses on the “fear” concept as dominant in the analyzed work. The story “Fear” is not often considered in Chekhov’s studies, meanwhile this work expresses one of the prevailing moods of Chekhov’s time and, accordingly, the socio-psychological type of behavior that became characteristic of the Russian society at the end of the 19th century. The work presents the history of the issue in connection with the term “concept” and the story “Fear” in modern literary criticism. Special emphasis is placed on the content of the analyzed concept, which is fundamentally important for understanding the view of the world created by the writer in his prose works at the end of the 19th century. In this regard, the story “Fear” is considered in comparison with those stories of the writer, where the words “fear”, “terrible” are put into the title. In the article particular attention is paid to the nature of fear caused by life, which is reflected in such a semantic component of the concept as paradox, which is also inherent in other Chekhov’s stories
29
Tumin, Aleksandr D. „The Modern Rationale for the Spanish National Idea of Espaholidad and the Problem of Spanish “Historical Nationalities”“. Imagologiya i komparativistika, Nr. 16 (2021): 174–86. http://dx.doi.org/10.17223/24099554/16/11.
Der volle Inhalt der QuelleAnnotation:
The main particularity of the Spanish civic collective identity is that its doctrine, Espanolidad, was initially formulated as theocratic, proclaiming the unity of the Spanish nation under the aegis of the Spanish Empire. However, after the Spanish War of Independence of 1808-1814, Espanolidad became the banner of opposite political forces: conservative on the one hand and liberal on the other. Espanolidad as the basic factor of the formation of the Spanish civic collective identity in the course of the 19th century favored Castelano-centrismo, which consisted in the centralization of the Spanish economy around Madrid and in the cultural Castilization of the Spanish state, the principal mechanism of which was the universal introduction of the Castilian language. Basque and Catalan regional nationalists being partial towards Castelanocentrismo considered the federalization of the Spanish state as an alternative to it already at the beginning of the 20th century. Conservative elements of Espanolidad received their distinct shape in the Francoist cultural doctrine of Nacionalcatolicismo, which had to justify the Spanish monoethnic state resting on the Christian unity. The Spanish “transition to democracy” is the transformation of the Francoist monoethnic state into the Spanish State of Autonomous Communities. Nevertheless, the rejection of Nacionalcatolicismo, symbolized by the slogan Spain is difference, put the unity of the Spanish nation into question and led to the intensification of regional separatist movements (Catalan and Basque). The criticism of the principle of ethnic nationalism, partly related to Nacionalcatolicismo, fostered the adoption of Constitutional Patriotism as the dominant Spanish cultural strategy. While postulating unity in variety, Constitutional Patriotism gives new breath to the old Espanolidad asserting national unity through the State of Autonomous Communities. The equal legal status of Spanish regions resting on the principles of solidarity and economic utility is upheld by the leveling of the inequalities of economic development between the rich and the poor autonomous communities.
30
HAVRYLIV, Tymofii. „THE CITY IN THE MODERNIST POETRY. URBAN POEMS BY BOHDAN IHOR ANTONYCH AND GEORG HEYM“. Ukraine: Cultural Heritage, National Identity, Statehood 33 (2020): 480–93. http://dx.doi.org/10.33402/ukr.2020-33-480-493.
Der volle Inhalt der QuelleAnnotation:
For the first time in literary studies, a comparative analysis of the urbanistic poetry of Bohdan Ihor Antonych and Georg Heym is realized. The common and divergent in semantic codes and characteristic practices from which the poetics of both authors grows are investigated. The city is the defining topos of modernist writing and the central category of the modernist worldview. In no other epoch did the city enjoy the attention of writers as at the end of the 19th century and in the first third of the 20th century. The modern city acquires its outlines only in the middle of the 18th century, and the modernist city from the second half of the 19th century, but especially in the early 20th century through dialectical denial and overcoming the «city of enlightenment». The metaphor of the sea and the semantics of the element, usually water, characterize expressionist speech. Expressionist lyrics are imbued with apocalyptic visions. Urban modernist poetry is an extrapolation of the inner world (states of consciousness) to the outer world. Negative fascination is a defining feature of urbanistic discourse in expressionist poetry. Expressionist urbanistic lyricism is a romantic revolt against urbanization as a defining structural element of the civilizational evolution of mankind, and demonization is the main instrument of criticism of the city in expressionist lyricism. Special attention is paid to the function of memory and remembrance in big-city modernist poetry. While in Heym, a representative of early expressionism in German literature, the city appears as a topos of the apocalypse, in Antonych, the picture of the city is significantly more differentiated – and figuratively, and tonally, and substantial. The thematic blurring of Heym's urban landscapes is opposed by Antonychʼs structural urban subtopoi, the key one being the square. Antonychʼs poetics moves from the concrete to the abstract; his apocalypse is more mundane, aestheticized and playful, and the trumpets of the last day trumpet in the squares, which lovers meet. Antonychʼs city is more vitalistic than Heimʼs, even when the lyrical subject inflicts a flood on him. Not only expressionist but also formalistic and cubist melodies are heard in it. The article uses methods of textual, paratext, and contextual analysis, method of distributive analysis, method of poetic analysis, method of semantic analysis, method of stylistic analysis, method of phonological analysis, hermeneutic and post-structuralist methods. Keywords: modernism, expressionism, urbanistic lyrics, urban landscape, memory, remembrance.
31
Rosovetskii, Stanislav. „On the Influence of Shevchenko's Autobiography on Kulish's“. Actual issues of Ukrainian linguistics: theory and practice, Nr. 39 (2019): 37–57. http://dx.doi.org/10.17721/apultp.2019.39.37-57.
Der volle Inhalt der QuelleAnnotation:
In honor of the 200th anniversary of P. Kulish's birth, the article offers a multi-level comparison of autobiographies of two prominent Ukrainian writers of the 19th century. In the categories and concepts of modern literary criticism, the hypothesis of literary influence of T. Shevchenko on P. Kulish's perception of artistic autobiography genre is checked and confirmed. For this purpose, three texts are compared: an autograph of "Autobiography" by T. Shevchenko, deeply edited by P. Kulish for printing in "People's Reading" journal, a version of T. Shevchenko's "Autobiography" and an autobiography "My Life" by P. Kulish. The comparison is carried out at narratological, compositional, genre and intertextual levels. The historical background of the creation of each of the texts is analyzed. It is proved that the autograph of T. Shevchenko's "Autobiography" and P. Kulish's "My Life" both belong to the genre of artistic autobiography and have a compressed narrative structure. It is confirmed that T. Shevchenko didn't have extra-literary reasons for creating a third-person autobiography, unlike P. Kulish, who, moreover, was very likely to come under the literary influence of the text of T. Shevchenko and developed T. Shevchenko's narrative structure in his artistic autobiography. At the same time, it is assumed that literary influence might not be the main argument in choosing a third-person narration, since there were extra-literary reasons for keeping P. Kulish's incognito. It is noted that the text "My Life" of P. Kulish is more functional in the aspects of orientation to objectivity, emotional pressure and moderation of the author's image in literary life. Its narrative structure is compressed precisely for the sake of objectivity, addressees and consignees are implicit and difficult to isolate on each of the layers of the narrative structure precisely to mimic the non-fiction. The text of a letter to the author integrated into "My Life" is the only exception. It is concluded that hypothesis about literary influence of T. Shevchenko on P. Kulish within the genre of artistic autobiography is reliable and well-reasoned. To the author's mind, further studies should focus on finding evidence of unconscious literary influence of T. Shevchenko on P. Kulish in other genres, chances of discovering which in future are rather high.
32
Shcherbinina, Yu I. „Teaching Creative Writing within the framework of philology: historical overview“. Vestnik of Samara University. History, pedagogics, philology 29, Nr. 4 (30.12.2023): 173–82. http://dx.doi.org/10.18287/2542-0445-2023-29-4-173-182.
Der volle Inhalt der QuelleAnnotation:
The purpose of the present article is to consider the dialectical relationship between Creative Writing and philology. The relevance of this subject is borne out by the recent surge of interest in teaching Creative Writing among EFL practitioners, writers, as well as teachers and researchers of literature, and the lack of a well-established system of instruction in our country. The materials analyzed in the paper include the works of American theoreticians and practitioners of Creative Writing, who laid the foundation of this discipline in the late 19th – early 20th century, the works of British scholars, as well as the articles on linguodidactics of modern Russian researchers. The paper seeks to point out the issues involved in teaching Creative Writing, such as its place among other disciplines (literary criticism, English studies, English composition, linguodidactics) and its institutional status; its vision as a mere method of teaching or a separate field of investigation. It is shown that the skills and competences developed by Creative Writing programmes are in high demand, and there is a growing need for such courses in Russia. The article aims to demonstrate the features that bring together Creative Writing and philology in the Russian academic context and allow to envisage the incorporation of Creative Writing into the professional training of philologists, in particular those specializing in English studies. The article concludes by highlighting the role creative writing plays in promoting a deeper appreciation of literature, developing productive language skills and raising more competent readers.
33
Martyanova, Svetlana A. „PUSHKIN-DOSTOEVSKY MYTH ABOUT “DEVILRY” IN THE WORKS OF T. YU. KIBIROV“. Tyumen State University Herald. Humanities Research. Humanitates 7, Nr. 4 (2021): 180–91. http://dx.doi.org/10.21684/2411-197x-2021-7-4-180-191.
Der volle Inhalt der QuelleAnnotation:
The article is devoted to the analysis and interpretation of the myth of “devilry” in the works of the modern Russian poet T. Yu. Kibirov. The myth of “devilry”, which goes back to the poem “Demons” by Alexander Pushkin (1830), has a special place in the history of Russian literature of the 19th and 21st centuries. V. A. Grekhnev identified its main components, and D. M. Magomedova traced the path of myth in post-Pushkin literature, from M. Yu. Lermontov to M. A. Bulgakov. At the same time, the life of the Pushkin-Dostoyevsky myth of “demonic” in post-symbolist literature, in independent Russian literature of the 20th century and modern literature remains unexplored. The author of the article, referring to the material of T. Yu. Kibirov’s “Message to Lev Rubinstein” (1989), “Give me a deconstruction! Gave…”, “Good for Chesterton — he lived in England”, “Historiosophical centon”, “We did not sell Christ”, “Happy New Year” etc., the poem “Kara-Baras”, dramatic experiments “The night before and after Christmas”, “Victory over Phoebus”, the chronicles “Lada, or Joy”, reveals elements of similarity with the traditions of A. S. Pushkin and F. M. Dostoevsky: images of empty darkness and chaos, loss of the path, value orientations, an appeal to the symbolism of the ballad genre, presented in a serious, playful, ironic tone. The classical tradition contains important keys and values for understanding new reality and becomes an integral part of the artistic language of its description. At the same time, fidelity to the classics is devoid of a sense of exclusivity, loud pathos, moralism, often includes idyllic, sentimental, humorous tones. The poet’s return to the classical literary tradition occurs after oblivion or denial of its values in Soviet times, which gave rise to the cultural problems of the post-Soviet period. In the course of the work, the methods of comparative literary criticism, intertextual analysis, mythopoetic and historical and cultural studies were used.
34
Orekhov, Vladimir V. „Background of Russian Imagology: Tradition as an Indication of Target“. Imagologiya i komparativistika, Nr. 14 (2020): 143–67. http://dx.doi.org/10.17223/24099554/14/7.
Der volle Inhalt der QuelleAnnotation:
Focusing on the history of Russian imagology, the article aims at identifying the origins of the imagological interests in research and public thought in Russia in the first and second thirds of the 20th century as well as research approaches of that time that may be required by modern imagology. This analytical insight arises from the endeavor of contemporary scholars to update and develop the imagology paradigm. The Patriotic War of 1812 and the entry of Russian troops into Paris in 1814 gave a powerful impulse to the imagological interests in Russian society. These events highlighted the irrational nature of European stereotypes and provided an opportunity for the Russian intellectual elite to observe how the European image of Russia evolves depending on the historical situation, which, in its turn, induced the Russians to collect and conceptualise the information about the image of Russia in European texts of different epochs. The Rossica Department in the Imperial Public Library was opened for the scholars to do bibliographic research of foreign publications about Russia. Commenting foreign essays about Russia was an important part of Russian academic and journalistic activity. Such publications regularly appeared in Syn Otechestva, Otechestvennye zapiski, Severnyy Arkhiv, Sovremennik, Biblioteka dlya chteniya, Russkiy vestnik, and Zhurnal Ministerstva narodnogo prosveshcheniya. The first imagological research proper was V.A. Klyuchevsky’s Skazaniya inostrantsev o Moskovskom gosudarstve [Legends of Foreigners about the Moscow State, 1866]. Without a critical analysis of foreign sources, the historian uses excerpts from different foreign texts to reconstruct an integral image of the Moscow state in the European consciousness. Although the first Russian imagological researches appeared in history, they laid the basis for the development of literary criticism. The book collection “Rossica” allowed Russian and foreign scholars (M.P. Alekseev, B.L. Modzalevsky, E.V. Tarle, M. Kadot) to study the Western literary opinion about Russia. Yu.M. Lotman relied on the imagological observations made by V.A. Klyuchevsky and his followers. Methodology of Soviet imagological research in literary criticism (M.P. Alekseev, B.G. Reizov, A.K. Vinogradov) was guided by the principles of history. These facts give grounds to speak about the formation of the Russian tradition of imagological researches, which has two characteristics: 1) following the principle of historicity and 2) focus on the functioning of the image of Russia in European literature of different epochs. In this context, it seems relevant for the Russian imagological works to focus on the phenomenon of “reverse reception” in Russian literature of the 19th century, that is on the Russian writers’ endeavor to comprehend the European image of Russia (to create a “meta-image”) and to oppose this image with their own holistic idea of Russia and its national features.
35
Panina, Nina L. „Illustrations in Children’s Educational Books in Russia in the Late 17th – Early 19th Centuries“. Tekst. Kniga. Knigoizdanie, Nr. 23 (2020): 82–99. http://dx.doi.org/10.17223/23062061/23/5.
Der volle Inhalt der QuelleAnnotation:
The aim of this article is to analyse the transition period in the history of illustrating children’s educational books on the material of Russian-language publications. It is the period in which the function of an intermedial representation gradually develops from emblematic to encyclopedic and narrative-figurative images. This process is related to the literary history of children’s books and their genre transformations. In the last third of the 18th century, children’s literature in Russia was formed as an independent direction with its special goals, and the basis for further search for specific methods of children’s book design, including educational ones, was laid. In the first quarter of the 19th century, the children’s book had a typical European visual design and continued the trends inherited from the 18th century: translations, borrowings, and revised texts in publications often copied illustrations rather than made new ones. A new stage came at the end of the 1820s, when Russia was actively developing independent children’s literature, and professional authors and criticism appeared. It was the time of the pedagogical experiments of Vasily Zhukovsky. This article does not claim to analyse Zhukovsky’s pedagogical activity comprehensively, but this activity is significant for the subject-matter of the study. In his pedagogy, Zhukovsky went to a new level when searching for intermedial ways of transmission of the universal coherence of phenomena, the systemic representation of knowledge about the world, and the ideas of the world as a system. The search, though much slower, was also observed in contemporary children’s books. The integration of cognitive and didactic functions in the Russian-language children’s book of the 18th century resulted in a mix of different principles of illustration in one publication. These principles are: (1) emblematic: the title, image, and text form a three-part structure; (2) encyclopedic: the sheet contains separate numbered images of the same type of objects excluded from the visual context; (3) narrative: the plot, expressive and figurative, including caricature, illustrations are readily used in an educational book due to their persuasiveness. Each of these principles has its own ways of displaying coherence. An encyclopedic illustration shows an object in a series of similar ones, in an enumeration, shows the structure of the object. An emblem gives its symbolic and allegorical interpretation. A narrative illustration shows its functions and its involvement in causal relations, depicting the environment of events and objects. The children’s book of the studied period tends to integrate all these ways. While the emblem as an independent intermedial genre degrades, certain elements of the emblematic tradition are actively borrowed by new forms of publications. The emblem gives the European book of modern times the most important intermedial tools for displaying universal coherence, the world as a system. The change of the epochs leads to an inevitable blurring of the meaning of the emblematic sign. The transitive nature of the analysed period is expressed in the search for a new intermedial form of coherence, similar to the lost emblematic bimediality of the text and illustration in terms of effectiveness. In the search for such a form, encyclopedic publications that claimed to be all-encompassing use the emblematic and narrative principles of illustration. In turn, the narrative illustration, driven by a similar desire for inclusiveness, consistency, and universality, absorbs the emblematic and encyclopedic principles.
36
Svitlenko, Serhiy. „Ukrainian intellectual Trokhym Zinkivskyi and preservation of historical memory of Taras Shevchenko“. Chornomors’ka Mynuvshyna, Nr. 17 (31.12.2022): 71–78. http://dx.doi.org/10.18524/2519-2523.2022.17.268828.
Der volle Inhalt der QuelleAnnotation:
The personality of Trochym Zinkivskyi (1861–1891) remains little known and insufficiently developed in modern Ukrainian historiography. The purpose of the article is to study the figure of Trokhym Zinkivskyi in the context of the problem of preserving the historical memory of Taras Shevchenko. Research methods are personalistic, historical-genetic and historical-systemic. Sources: published epistolaries of T. Zinkivskyi and his addressees, memories of contemporaries, biographical articles in the Ukrainian press of the beginning of the 20th century etc. The main results consist in elucidating the peculiarities of the formation of T. Zinkivskyi's worldview under the conditions of the oppression of the Southern Ukrainian lands by the Russian imperial regime, in particular in Berdyansk, Feodosia and Odesa, the establishment of his Ukrainian national-democratic views during his studies and military service in Smila, Shpola and Uman, in Kyiv and St. Petersburg. It is noted that an important factor in the development of his Ukrainian consciousness and identity was his family upbringing, which instilled love for his native language and formed Christian, religious values. A prominent role was played by the reading circle, which included Shevchenkov's «Kobzar» along with other literary works of Ukrainian and foreign writers; as well as Ukrainian folk art. V. Kravchenko, L. Smolenskyi, B. Grinchenko, M. Komarov, and a number of representatives of the Ukrainian colony in St. Petersburg were included in the closest circle of persons who significantly influenced the formation of the worldview of the Ukrainian figure. The article traces the main stages of the intellectual and public activity of the Ukrainian figure in the matter of preserving the historical memory of Kobzar. It is noted that already in the middle and second half of the 80s of the 19th century. T. Zinkivskyi began work in the field of Ukrainian literature, took care of translation activities. In St. Petersburg, he was able to begin wider work for the benefit of Ukrainianism and became an ideological leader of young Ukrainians. The powerful vital energy of the activist was organically combined with consistent and convinced actions in the name of the Ukrainian cause. In the youth group at Shevchenko's anniversary, T. Zinkivskyi read a number of essays, such as «The National Question in Russia», «Shevchenko in the Light of European Criticism», «Young Ukraine» and others. His essay «Taras Shevchenko in the Light of European Criticism», which was read in Ukrainian on the evening of February 25, 1889 in the capital of the empire, was of exceptional importance. This speech, prepared mostly on the basis of French, Austrian, German, and Polish historiographical sources, presented Kobzar as a figure of global poetic scale and destroyed the perception of the Russian metropolitan public about Ukrainians and the Ukrainian language as something provincial and inferior. Conclusions.T. Zinkivskyi became one of the brightest representatives of the «Young Ukraine» generation. The short-lived but important intellectual activity of the ideological leader of young Ukrainians, in particular, speeches at the Shevchenko anniversary, publication of abstracts, epistolaries, drew the attention of contemporaries to the figure of Taras Shevchenko, to his poetic heritage; actualized the issue of preserving the historical memory of Kobzar as a leader of the national values of Ukrainians. It has been proven that during the 1880s and early 1890s, T. Zinkivskyi's intellectual activity contributed to the progress of Ukrainian public affairs and national science, the establishment of Ukrainian national consciousness among the generation of young Ukrainians. The practical significance of the article is that the given material will be of interest to specialists in the context of studying the ethno-national history of Ukraine in the second half of the 19th century. The originality of the article lies in the understanding of insufficiently studied aspects of the activity of the Ukrainian intellectual, who stood at the origins of the idea of «Young Ukraine». Scientific novelty in updating the intellectual activity of T. Zinkivskyi in the matter of preserving Ukrainian national memory and forming national consciousness and identity.
37
SHPYK, Igor. „Bulgarian-Ukrainian Relations in the Late Middle Ages in the Works of Ukrainian Scholars of the 19th–First Quarter of the 20th Century“. Problems of slavonic studies 70 (2021): 22–30. http://dx.doi.org/10.30970/sls.2021.70.3754.
Der volle Inhalt der QuelleAnnotation:
Background: One of the least researched periods of Bulgarian-Ukrainian intercul-tural dialogue is late Middle Ages period. It is explained by the low number of sources and their fragmented character, and mainly by incomplete methodology of their pro-cessing, lack of respective conceptual approaches, which are still applied, despite seri-ous criticism. In the second part of the 20th century Ukrainian Slavic Studies, being under mo-nopoly influence of the Russian historiographic patterns, fully accepted the concept of the “second South Slavic influence”, artificially adapting it to the Ukrainian late Middle Ages history. Definitely it was not beneficial for it as self-sufficient processes of reli-gious and cultural relations of Ukraine-Rus with Bulgaria of the 14th–15th centuries were narrowed down only to one abstract phenomenon, which main recipient undoubt-edly was Moscow. Purpose: Modern Ukrainian researchers continue using the term “second South Slavic influence”, and this automatically makes their texts not only a bit terminologically vague, but often retranslates outdated historiographic patterns with clearly expressed myth-making elements. To finally neutralize the afore-mentioned tendency, one should refer back to the origins of our national historiography that includes alternative interpre-tations of cultural relations of Ukraine-Rus with Bulgaria and other South Slavic coun-tries in the late Middle Ages period. Their subsequent analysis is the man objective of this article. Results: Ukrainian scholars of the 19th – first quarter of the 20th century rigorous-ly studied all the aspects of Bulgarian-Ukrainian relations of the late Middle Ages peri-od known at that time. I. Franko and М. Hrushevsky contributed to these studies the most, and some of their opinions are based both on the in-depth knowledge of Ukraini-an and Bulgarian cultural and religious life, and the results of comparative analysis of the respective book and literary monuments, therefore they are still scientifically topical. At the same time, materials of all these studies, irrespective of their scientific value, is an inseparable part of Ukrainian Slavic researchers’ knowledge about the place of their cul-tural heritage within the system of interslavic relations of ancient times. Key words: Bulgaria, Ukraine-Rus, cultural relations, “second South Slavic influ-ence”, the late Middle Ages, Ukrainian Slavic Studies. Dashkevich, N., 1904. Several facts on Rus’ communication with South Slavs in Lith-uanian-Polish period of its history, including dumas. Kievan Anthology dedicated to Т. D. Florinsky. Kiev, pp.117–137. (In Russian) Franko, I. Ya., 1981. Collection of works. In 50 volumes, 30. Kyyiv: Naukova dumka. (In Ukrainian) Franko, I. Ya., 1984. Collection of works. In 50 volumes, 41. Kyyiv: Naukova dumka. (In Ukrainian) Franko, I., 1899. Apocrypha and legends from Ukrainian manuscripts. The Monu-ments of the Ukrainian-Russian Language and Literature, 2. L"viv. (In Ukrainian) Franko, I., 1913. Studies of the Ukrainian Folk Sngs, 1 L"viv. (In Ukrainian) Hnatyuk, V., 1906. Relations of Ukrainians with Serbs. Collection of scientific articles dedicated to Prof. Mykhailo Hrushevsky by his students and supporters to celebrate the 10th anniversary of His scientific activitiy in Halychyna (1894–1904). L"viv, pp.373–408. (In Ukrainian) Hojnackіj, A., 1873. Life and activity of the hierarch Cyprian, Metropolitan of Kiev and Moscow in Volyn region. Volyn Eparchial Journal. Unofficial Section, 14, с.497–503. (In Russian) Hrushevs"kyj, M. S., 1992. From the history of religious thought in Ukraine. Kyyiv: Osvita. (In Ukrainian) Hrushevs"kyj, M. S., 1994. History of Ukraine-Rus' : vols. 1–10 (in 12 books), 5–6. Kyyiv: Naukova dumka. (In Ukrainian) Hrushevs"kyj, M. S., 1995. History of Ukrainian literature, 5/1. Kyyiv: Lybid. (In Ukrainian) Hryhorash, N., 2007. Ukrainian Literary Bulgarian Studies of the 19th – middle of the 20th century: schools and personalities. Veliko T"rnovo: Universitetsko izdatelstvo “Sv. sv. Kiril i Metodij”. (Іn Bulgarian) Kaluzhnjackij, E. І., 1878. Overview of Slavic-Russian monuments of language and writing, kept in Lvov libraries and archives. Proceedings of the Third Archeological Congress in Russia, held in Kiev in August of 1874, 2, pp.213–321. (In Russian) Kryzhanovskіj, G., 1886. Kamianets-Strumilov tetro-Gospel of 1411 and Volyn dialect in the 14th–15th centuries. Volyn Eparchial Journal. Unofficial Section, 17, pp.502–509; 18, pp.531–543. (In Russian) Lihachev, D. S., 1958. Certain tasks of studying the second South Slavic influence in Russia. Moskva: Publishing house of the Academy of Sciences of the USSR. (In Russian) Myshanych, S. V., 1974. Comparative study of the epic literature of the Ukrainian and South Slavic peoples. Folklore and Ethnography, 4, pp.24–37. (In Ukrainian) Rybinskij, V., 1891. Kiev Metropolitan Cathedral from the half of the 13th to the end of the 16th century. Kіev": Tipografіja G. T. Korchak"-Novickago. (In Russian) Shchepkin, V. N., 1967. Russian paleography. Moskva: Nauka. (In Russian) Shhurat, V., 1895. The Monk’s Republic in the Mount Athos. L"viv: Publishing house of the Scientific Association Shevchenko. (In Ukrainian) Sobolevskij, A. I., 1894. South Slavic influence on the Russian language and writing in the 14th–15th centuries. Report, delivered at the annual event of the Archeological Insti-tute on March 8, 1894. Sankt-Peterburg: Tipografija M. Merkusheva. (In Russian) Sohan', P. S., 1976. Outline of history of Ukrainian-Bulgarian relations. Kiev: Naukova dumka. (In Russian) Stepovyk, D. V., 1975. Ukrainian-Bulgarian art relations. Kyyiv: Naukova dumka. (In Ukrainian) Svyencicz`ky`j, I., 1922. Decoration of Manuscripts of Galician Ukraine XVI-го віку, 1–3. Zhovkva: Ex officina Monasterii O. s. Basilii Magni. (In Ukrainian) Venelin, Ju., 1835. On Folk Songs of Transdanube Slavs. Moskva: Tipografija N. Stepanova. (In Russian) Worth, D., 1983. The so called “second South Slavic influence” in the history of Russian literary language. 9th International Congress of Slavis Studies Scholars (Kiev, September 1983). Abstracts of reports and articles. Moskva, рр.222–223. (In Russian) Wozniak, M., 1992. History of Ukrainian literature: In 2 books. L"viv: Svit. (In Ukrainian) Zhukovskaja, L. P., 1987. Greek influence and archiazation of the Russian language of the second half of the 15th – first half of the 16th centuries (On the falseness of the notion “second South Slavic influence”). Old Russian literary language in its relation to the Old Slavic language, pp.144–176. (In Russian)
38
Liebiedieva, Hanna. „THE CONCEPT OF NATURE IN THE WORKS OF AMERICAN TRANSCENDENTALIST HENRY DAVID THOREAU“. Bulletin of Taras Shevchenko National University of Kyiv. Philosophy, Nr. 9 (2023): 30–35. http://dx.doi.org/10.17721/2523-4064.2023/9-5/15.
Der volle Inhalt der QuelleAnnotation:
B a c k g r o u n d . This article reveals the understanding of the concept of nature in the works of the American philosopher Henry David Thoreau. Henry David Thoreau is an American philosopher, poet, essayist, naturalist and political activist. Together with Ralph Waldo Emerson, his friend and mentor, he is considered one of the founders of the transcendentalist movement. Transcendentalism was a powerful movement of American philosophy of the 19th century. It was characterized by focusing on the problem of human self-knowledge, human's returning to own essence, living in harmony with nature, as well as criticism of modern society and active abolitionism. M e t h o d s . The article uses both general scientific methods and special methods, such as – the method of historical-philosophical reconstruction, which made it possible to reproduce the ideas of the American thinker, the hermeneutic method – for explaining individual positions of the philosopher. In addition, literary-critical methods were used, for the possibility of using various primary sources, and systematic method – to identify a systematized structure in the philosophical work of H. D. Thoreau. R e s u l t s . One of the main features of transcendentalism is a special interest in reflection on nature and a special approach to it. Thus, the concept of nature is present in most of H. D. Thoreau's works, and it is the central topic of his philosophical searches. The concept of nature in his works appears in different contexts, acquires different meanings. Thus, H. D. Thoreau talks about nature in the context of nature, in the context of poetic creativity, in his philosophical searches, in his vision of man and in his argumentation of his own political position. However, the different meanings that H. D. Thoreau attaches to the concept of nature do not contradict each other, but, on the contrary, complement and clarify his understanding of nature. C o n c l u s i o n s . This article proposes to consider the use of the concept of nature by H. D. Thoreau in the following aspects: Nature and Peculiarities of nature as a subject of scientific knowledge. Nature and The relationship between nature and culture through the relationship between "the wild" and society. Nature and From naturalism to humanism. Nature as an inner essence of man and solitude with nature as a return to this essence.
39
Souza, Roberto Acízelo de, und José Luís Jobim. „BRAZILIAN LITERARY CRITICISM AND HISTORIOGRAPHY“. Revista Brasileira de Literatura Comparada 22, Nr. 41 (Dezember 2020): 37–45. http://dx.doi.org/10.1590/2596-304x20202241rac.
Der volle Inhalt der QuelleAnnotation:
Abstract: In Brazil literary studies, after scant manifestations in the colonial period, represented by the activity of literary academies founded in the 18th century only really expanded in the course of the 19th century. National literary production grew in quantity and quality, as did literary studies, which, on the one hand, were demanded by this production- that, after all, needed to be studied and evaluated -, but, on other hand, stimulated this creativity, as they established as a criterion of value the alignment of fiction, poetry and dramaturgy with the nationalist agenda. As a result, from the 1820s until the 1880s, literary studies in Brazil underwent a period of expansion and diversification. If in the 1800s literary education was conducted at high-school level, from the 1930s onwards university courses in literatures began to be established in Brazil. In this paper we will provide a short introduction to Brazilian literary criticism and historiography from its very beginnings to the present time.
40
Sen, Tithi, und Kaushik Das. „Salient Features of Feminist Literary Criticism“. Shanlax International Journal of English 10, Nr. 1 (01.12.2021): 20–24. http://dx.doi.org/10.34293/english.v10i1.4199.
Der volle Inhalt der QuelleAnnotation:
Feminist literary criticism as criticism schools is marked by gender, widespread gender awareness, and feminine consciousness is its elementary characteristics. This study introduces the different phases of Feminism through various insidious social and cultural mores. The main objective of this study to Criticism the Salient Features of Feminist Literary. The main content of this paper is divided into three aspects, the first, second, and third wave of feminism from the 19th century to date. Methodology Employed based on qualitative research. The secondary sources of this study are taken from various books, articles, diaries, proposals, official records, archives, Govt. Gazetteers, Manuals and sites, and so on.
41
Mustoyapova, A. „Actual research areas in modern foreign literary studies“. Bulletin of the Karaganda University. Philology series 98, Nr. 2 (30.06.2020): 70–79. http://dx.doi.org/10.31489/2020ph2/70-79.
Der volle Inhalt der QuelleAnnotation:
The article describes the types of latest research presented in foreign literary studies at the beginning of the XXIst century. The аuthor focuses on the formation of such critical approaches as cognitive criticism, Darwinian criticism, ecocriticism, human and animal studies. The author focuses on the problems of literature at the beginning of the XXIst century, which are closely related to the latest achievements in neurobiology, cognitive science, environmental and evolution issues. A review of the modern foreign researcher’s works allows us to conclude that they are related to poststructuralist, postmodern, evolutionistic and actor-network theories. The significance of these critical approaches is determined by the fact that they are relevant and applicable for not only literary analysis and literary criticism, but also for research in sociology, psychology and in the field of interdisciplinary research.
42
Mangraviti, Fabio. „The Patronage of Literary Criticism“. Cracow Indological Studies 25, Nr. 2 (29.12.2023): 109–47. http://dx.doi.org/10.12797/cis.25.2023.02.04.
Der volle Inhalt der QuelleAnnotation:
The present work is inspired by previous contributions to the development of the Hindi public and print spheres in the 19th century (Dalmia 1997; Orsini 2002; Stark 2007). It aims at extending and integrating previously elaborated presentations by focusing on the patronage provided by colonial institutions to the development of Hindi literary studies in the 1870s and 1880s. The study also considers the role played by Indian sampradāys in enacting the religious and intellectual processes underwriting the expansion of this field. By moving in this direction, the article mainly builds on the investigation of some biographies (jīvnī) of the North Indian devotional poets penned by Bhārtendu Hariścandra in the 1870s. Further, it explores the relationship between these biographies and the anthologies published in the mid-1870s by the Naval Kishor Press. The final section of the contribution provides an introductory analysis of the type of patronage extended to Hariścandra and his works by the Khadgavilas Press in the 1880s. The aim is to draw a comparison between the policies of some earlier private publishing enterprises and those pursued by the new, Hindu-oriented publishing enterprises.
43
Dorrill, James F. „Federick Denison Maurice as Literary Critic“. Christianity & Literature 66, Nr. 2 (März 2017): 213–29. http://dx.doi.org/10.1177/0148333116649106.
Der volle Inhalt der QuelleAnnotation:
His voluminous theological works have established Frederick Denison Maurice as one of the most eminent Anglican clergymen of the 19th century. Little attention has been given, however, to his important role as literary critic. This study is an overview of Maurice's literary criticism, highlighting the principles and convictions that governed his scrutiny of major (principally British) writers as reflected in his periodical essays, lectures, and personal correspondence extending over a period of nearly 50 years.
44
Munari, Alessandra. „The double nature of ‘source criticism’: Between philology and intertextuality“. Forum Italicum: A Journal of Italian Studies 53, Nr. 1 (02.02.2019): 27–52. http://dx.doi.org/10.1177/0014585818813894.
Der volle Inhalt der QuelleAnnotation:
This article analyzes so-called ‘source criticism’, and it observes how this discipline historically and conceptually developed into the theory of intertextuality. This research traces the steps of source criticism from the end of the 19th century and through the 20th century, paying special attention to Italian literature; it deals with texts by critics Pio Rajna, Renato Serra, Ernst Robert Curtius, Gian Biagio Conte, Ezio Raimondi and Giuseppe Velli.
45
A. K. Matayeva, S. B. Jumagul und E. I. Kopteva. „MODERN KAZAKH LITERATURE STUDIES: ACHIEVEMENTS, PROBLEMS, DEVELOPMENT PROSPECTS“. Bulletin of Toraighyrov University. Philology series, Nr. 1.2023 (31.03.2023): 227–38. http://dx.doi.org/10.48081/szww2913.
Der volle Inhalt der QuelleAnnotation:
"The end of the 19th and the beginning of the 20th centuries were marked for the Kazakh society by entering a new stage of development. The universal values that determine the concepts of modern social changes have undoubtedly influenced national literary criticism, posing new tasks for the correct determination of development prospects through an objective revision of the past, marked by ideological pressure. The formation of new aesthetic knowledge in assessing the role of literature in society, the appeal to new forms, methods and means of reflecting reality, the development of scientific and theoretical approaches and the definition of new principles for studying the nature of the literary process are characteristic features of modern Kazakh literary criticism. At the current stage, the urgent task is to identify the patterns of development of literary science, comprehensive differentiation of scientific research, the definition of methodological concepts, theoretical foundations and areas of research, the assessment of achievements and the definition of prospects for new research. Being an important branch of the social and human sciences, modern Kazakh literary criticism seeks to rethink its way of becoming as a field of scientific knowledge in order to evaluate its achievements and identify shortcomings that occur at each stage of development. The article deals with the scientific and theoretical problems of modern Kazakh literary criticism, reflecting innovative searches. At the same tiem6 the evaluation and analysis of studies based on new research methods and scientific principles is of great importance. Special place is occupied by theoretical works written on the basis of hermeneutics, structuralism, semiotics and other innovative research methods. Analysis of the main achievements, literary and theoretical problems, directions of development of modern Kazakh literary criticism is presented as well. Keywords: Kazakh literary studies, theory and history of national literature, methodology. "
46
Abasheva, D., V. Sigov und R. Sharyafetdinov. „Formation and development of the Chuvash folklore studies and literary criticism of the 19th century“. Rhema, Nr. 4, 2018 (2018): 190–203. http://dx.doi.org/10.31862/2500-2953-2018-4-190-203.
Der volle Inhalt der QuelleAnnotation:
History of literary criticism of various nations of Russia in the 19th century is many-sided and is important both for further development of literature and for the process of mutual enrichment, addition of literatures and literary studies. A special place in this context belongs to the Kazan province which has always been characterized by ethnic diversity an multinational structure and to the University of Kazan which is the acknowledged center for studying traditional ways of life, folklore and literature of the Volga region. In the formation of literary criticism and the development of literature of the Volga region in general and Chuvash literature in particular, the activities of the Chuvash writers, actors, artists, composers (I. Yurkin, G. Timofeev, M. Akimov, K. Ivanov, N. Shubossinni, M. Trubina, F. Pavlov, P. Pazukhin, etc.) and researchers (A.A. Fuchs, V.A. Sboev, S.M. Mikhailov, P. Malkhov, I.Ya. Yakovlev, N.M. Ashmarin, etc.) are of special importance.
47
Kuhutiak, Mykola, Ihor Raikivskyi und Oleh Yehreshii. „Halychyna. Journal of Regional Studies: Science, Culture, and Education. Twenty Years of Publishing Activity“. Journal of Vasyl Stefanyk Precarpathian National University 4, Nr. 2 (30.10.2017): 134–38. http://dx.doi.org/10.15330/jpnu.4.2.134-138.
Der volle Inhalt der QuelleAnnotation:
This is a review of the twenty-year-long publishing activity of Halychyna. Journal of Regional Studies: Science, Culture and Education, one of the first Ukrainian journals for historians, philologists, art critics that appeared in the independent Ukraine. In Halychyna, there has been published the works by well-known scholars of Vasyl Stefanyk Precarpathian National University and many other higher educational establishments of Ukraine. The Journal can boast an array of sections – archaeology, history, ethnology, political science, historiography, source studies, documents and materials, culturology, art criticism, historical biography studies, and others. Most of the studies published in Halychyna focus on the issues of the modern and contemporary history of Ukraine, ethnology. A special attention is given to the issues of the Ukrainian national liberation movement in the 20th century, the Ukrainian national revival in the 19th–20th century, the activity of the political parties in Galicia in the late 19th–early 20th century, source studies and historiography in Ukraine, historical regional studies, the problems of modern state formation in Ukraine, and others
48
Nuriyev, Novruz. „APPLICATION OF METHODOLOGICAL FUNDAMENTALS OF TEXTUAL CRİTİCİSM IN XIX CENTURY AZERBAIJANI MANUSCRIPT COLLECTIONS“. InterConf, Nr. 13(109) (20.05.2022): 169–74. http://dx.doi.org/10.51582/interconf.19-20.05.2022.022.
Der volle Inhalt der QuelleAnnotation:
Literary criticism, formed by literary-critical thought, has a long way of development that continues to this day. Textual studies, which deals with the study, analysis and re-arranging of manuscripts of various forms of ancient religious texts, laws, historical events, philosophical meetings, also has certain methods and principles in the study of literary heritage. Azerbaijan is one of the countries where the literary trends formed in the Middle Ages in the Middle Ages and in Europe in the New Age harmonized with each other and formed perfect examples of literature. Being a part of the Islamic Ummah for centuries, Azerbaijan has been synthesizing Western literary genres with our classical literary heritage for the last two hundred years and includes scientific and creative examples and literary genres of each period. Written monuments of Azerbaijan, as well as literary samples, studied on the basis of literary-critical ideas and "comments" in classical textology, have been studied on the basis of a number of innovations since the 19th century.
49
T. Szabó, Levente. „International Exhibitions, Literary Capitalism, and the Emergence of Comparative Literature“. Journal of World Literature 7, Nr. 3 (09.09.2022): 332–47. http://dx.doi.org/10.1163/24056480-00703003.
Der volle Inhalt der QuelleAnnotation:
Abstract The invention of international fairs in the 19th century revolutionized both nationalism and modern thinking on global relationships since they showcased but also contested and negotiated national, imperial, and global identities. From the Great Exhibition at Crystal Palace to the 1900 Paris Exposition, the international fairs / expositions universelles were landmarks of histoire croisée of nationalism, global thinking, and capitalism. Even though they seem to be showcasing industrial progress, they also created a completely new frame for the self-fashioning, vindication, and negotiation of national arts and literatures, interpreted in a global setting and in capitalist terms. I propose to explore the pattern and experience of the 19th-century international fair / exposition universelle as an important frame for the emerging modern transnational literary scene, fueling major debates on the nature of nationalism, cosmopolitanism, and capitalism.
50
Maiga, Imirana Seydou. „The role of linguistics in the development of modern literary criticism“. (الطموحات ) EL-THUMUHAT 2, Nr. 2 (17.05.2020): 18–35. http://dx.doi.org/10.25299/elthumuhat.2019.vol2(2).2991.
Der volle Inhalt der QuelleAnnotation:
The nineteenth century is the age of linguistics, which opened the horizons for human sciences in this age, especially the monetary field, which is considered the first beneficiary of the fruits of linguistics, where both work on one material: language.
However, linguistics was interested in the ordinary language, while the criticism in the creative language took criticism from the impressionist stage to rely on technical mechanisms to prevent the critic from falling into the trap of self-impression. And with the scientific breakthrough of criticism resulting from the exchange of criticism and linguistics we found several approaches from structural to deconstruction, stylistic, which wanted to contain the page rhetoric, and other approaches that continue to breed with the development of linguistics, and do not forget the analysis of speech, and the mechanisms of the reader and his response. These scientific observations, which will be discussed in this study in the following lines.