Relevant bibliographies by topics / ?-1606 Criticism and interpretation

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

Academic literature on the topic '?-1606 Criticism and interpretation'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 January 2023

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Journal articles on the topic "?-1606 Criticism and interpretation"

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Hedberg, William C. "RECLAIMING THE MARGINS: SEITA TANSŌ'S SUIKODEN HIHYŌKAI AND THE POETICS OF CROSS-CULTURAL INFLUENCE." International Journal of Asian Studies 12, no. 2 (July 2015): 193–215. http://dx.doi.org/10.1017/s1479591415000121.

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This article focuses on the literary criticism of the Edo-period scholar, Seita Tansō (1719–1785). Although a historian by vocation, Tansō additionally lectured extensively on the Chinese vernacular novel, Shuihu zhuan (Jp. Suikoden, En. The Water Margin). While earlier generations of Chinese fiction aficionados in Japan had also discussed Shuihu zhuan, early eighteenth-century analysis was primarily limited to philological explication—a task necessitated by the extensive use of colloquial language in the novel. In contrast to this tradition of philological exegesis, Tansō turned his attention to the ethical content and literary structure of Shuihu zhuan. Tansō was heavily influenced by the writing of the Chinese fiction commentator Jin Shengtan (1608–1661), and in this article, I discuss Tansō's use of Jin's fiction criticism in the construction of his own interpretation of the novel. I argue that the dissemination of Chinese novels in Edo-period Japan cannot be discussed without an understanding of Japanese engagement with Chinese narrative theory, and I identify Seita Tansō as an important figure in a transition from philological to more purely narratological analysis of Chinese vernacular fiction.
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Pereira, Marcio Roberto. "O crítico José Veríssimo: perspectivas da interpretação / The Critic José Veríssimo: Perspectives of the Interpretation." O Eixo e a Roda: Revista de Literatura Brasileira 28, no. 4 (December 5, 2019): 275. http://dx.doi.org/10.17851/2358-9787.28.4.275-289.

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Resumo: Lançada em 1916 e escrita na maior parte da vida literária de José Veríssimo, a História da literatura brasileira: de Bento Teixeira (1602) a Machado de Assis (1908) reúne as diversas atividades do crítico paraense como um intelectual atuante. Com o objetivo de fazer uma reflexão sobre as facetas do crítico e historiador literário, esse artigo analisa seu trabalho de interpretação da nação brasileira por meio da aproximação entre os diversos discursos que compõem a História, em destaque literatura e educação. Ao propor a definição dessas perspectivas, nota-se que a obra final de José Veríssimo possui uma organicidade e um apuramento de seus critérios de análise.Palavras-chave: José Veríssimo; História da literatura brasileira; crítica literária; educação.Abstract: Published in 1916 and written in most of the literary life of José Veríssimo, the History of Brazilian Literature: from Bento Teixeira (1602) to Machado de Assis (1908) gathers the several activities of the critic from Pará as an active intellectual. With the objective of making a reflection on the facets of the critic and literary historian, this essay analyzes his work of interpretation of the Brazilian nation, through the approximation between the various discourses that make up History, especially literature and education. In proposing the definition of these perspectives, it is noted that the final work of José Veríssimo has an organicity and a refinement of his analysis criteria.Keywords: José Veríssimo; History of Brazilian Literature; literary criticism; education.
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Stanglin, Keith D. "The Rise and Fall of Biblical Perspicuity: Remonstrants and the Transition toward Modern Exegesis." Church History 83, no. 1 (March 2014): 38–59. http://dx.doi.org/10.1017/s0009640713001674.

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The purpose of this article is to examine the biblical exegesis of two seventeenth-century Dutch Remonstrant theologians, Simon Episcopius (1583–1643) and Étienne de Courcelles (1586–1659). Their hermeneutic was characterized by an emphasis on the perspicuity, or clarity, of scripture through the use of reason, combined with the marginalization of spiritual meanings in favor of the literal-grammatical sense alone. In both of these emphases, they went beyond their theological forebear, Jacob Arminius (1559–1609), and adumbrated the methods of later Enlightenment thinkers. The stress on perspicuity and authorial intention led to increasing fascination with text criticism, linguistic analysis, and historical contextualization, highly rarefied disciplines that became prerequisites for correct, scholarly biblical interpretation. This development also pushed the question of biblical fallibility closer to the center of the doctrine of scripture. As a consequence of the philological, scientific study of the Bible, biblical interpretation was relegated to the field of scholarship and doctrinal formulation to the church. The original ideal of biblical perspicuity resulted in biblical obscurity.
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Smith, M. Burdick. "“[P]lain and passive fortitude”: Stoicism and Spaces of Dissent in Sejanus." Ben Jonson Journal 25, no. 1 (May 2018): 32–51. http://dx.doi.org/10.3366/bjj.2018.0209.

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In Ben Jonson's Sejanus, performed at court in the first year of King James’ reign in 1603, Arruntius seemingly figures as “Jonson's spokesperson.” While lauding the moral responsibility of Arruntius, some critics have portrayed the Senator as a passive Stoic whose “only outlet is speech.” For a poet who emphasizes the moral and didactic responsibility of authorship, why, then, does his spokesman inhabit a peripheral space in criticism? Critical interpretation of Arruntius depends on the editorial decision to render many of Arruntius’ lines as asides or as public critique, and this editorial crux is examined vis-à-vis early modern attitudes toward public engagement. I argue that the play negotiates the tensions between the patient Neostoicism of Justus Lipsius and politically active Senecan Stoicism. Arruntius navigates those tensions through Ciceronian ideals of friendship, which provide an alternative to the rampant flattery and tyranny at Tiberius’ court. I show that the play responds to larger political anxieties concerning James I's recent ascension to the throne, and that interpreting early modern Stoicism as entirely passive disregards the complex discourse of friendship that permeates the period.
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Hansen, Jette Barnholdt. "From Invention to Interpretation: The Prologues of the First Court Operas Where Oral and Written Cultures Meet." Journal of Musicology 20, no. 4 (2003): 556–96. http://dx.doi.org/10.1525/jm.2003.20.4.556.

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The dynamic progression from orality to literacy is embodied in the notation of the prologues to the first court operas. This transition is influenced by the proliferation of printed scores at the beginning of the 17th century and has profound rhetorical consequences for vocal performance. In the first prologues, where the written arie are formulaic, the singer is the creator and authority; s/he controls the musical performance and makes the connection between words and music by means of variation, ornamentation, and improvisation as part of a persuasive dialogue with listeners. In the later prologues, however, the composer rather than the singer is in control of the discourse. Because of a new and more elaborate way of writing out the prologues, where all stanzas are set to music, the singer is now turned into an interpreter of the composer's rhetorical realization of the words, a realization fixed in the score by musical notation and capable of being brought to life in performance. The prologue can profitably be discussed as a genre in the context of the oral tradition of the late Renaissance, and is illuminated by a number of 16th- and 17th-century Italian sources dealing with lyric poetry, linguistic theory, vocal performance, sound, and listening. In this regard, the edition of Jacopo Peri's Euridice by Howard Mayer Brown (1981) is open to criticism, because all stanzas of the prologue are written out, which is not in accordance with Peri's original score (Florence, 1600). The editorial realization of the strophes, therefore, seems to run contrary to the principles of orality according to which the prologue was originally composed.
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Zaret, David, and Michael Walzer. "Interpretation and Social Criticism." Contemporary Sociology 17, no. 1 (January 1988): 122. http://dx.doi.org/10.2307/2069485.

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Senchuk, Dennis M., and Michael Walzer. "Interpretation and Social Criticism." Noûs 26, no. 3 (September 1992): 389. http://dx.doi.org/10.2307/2215966.

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Gorski, Philip S. "SCIENTISM, INTERPRETATION, AND CRITICISM." Zygon� 25, no. 3 (September 1990): 279–307. http://dx.doi.org/10.1111/j.1467-9744.1990.tb00793.x.

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Rosen, Bernard. "Interpretation and Social Criticism." Journal of Higher Education 59, no. 6 (November 1988): 704–6. http://dx.doi.org/10.1080/00221546.1988.11780237.

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Rosen, Bernard, and Michael Walzer. "Interpretation and Social Criticism." Journal of Higher Education 59, no. 6 (November 1988): 704. http://dx.doi.org/10.2307/1982241.

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Dissertations / Theses on the topic "?-1606 Criticism and interpretation"

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Spates, William H. "Imagining corrupt consumption : the genesis and evolution of the pox metaphor in sixteenth-century England (1494-1606)." Thesis, University of St Andrews, 2005. http://hdl.handle.net/10023/14657.

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This thesis attempts to examine the birth and development of the pox metaphor in sixteenth-century English literature. In researching this literary history of a disease---of syphilis' life as an early modem metaphor---I have attempted to contextualize the pox metaphor's development within the social and economic constructs that led to the early modern conflation of excessive consumption with poxy corruption. This conflation freed the metaphor from the confines of discussion on disease and allowed early modern authors the freedom to apply pockifed tropes to describe various social ills and abuses. Initially these pox metaphors were restricted to sexualized subject matter such as inconstant women, but through the rise of satire, the metaphor became a means of describing London as rampant, diseased and corrupt. Finally, Shakespeare was able to take the pox and apply it to the economic sickness that was affecting England by inscribing appetites with consuming pox-inspired qualities that were, in effect, a commentary on the uncontrolled rise of the capitalist state and the dangers of desire.
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Voss, Annemarie. "John Milton's Paradise lost in Germany : reception and German-language criticism." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/762991.

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This survey focuses on German-language studies of John Milton's Paradise Lost, based on a bibliography of more than 140 German-language publications dating from 1651 to the present. Its purpose is to describe and evaluate these studies and to make their arguments accessible to readers who have difficulties locating, obtaining, and/or reading these texts.Chapters 1-4 give an account of Milton's reception in Germany and Switzerland. Topics discussed include the evaluation of Milton as poet and man, the influence of Milton's Paradise Lost on the development of German literature (Klopstock's Messias), early Milton studies, German translations of Milton's Paradise Lost, the teaching of Milton's works in Germany, and the evaluation of the poem for the present generation. Chapters 5 to 10 survey twentieth-century German-language criticism of Paradise Lost. Topics include the literary tradition; the drama plans; structure and style; cosmology and theology; and interpretations of the fall.Outstanding twentieth-century German studies include Hiibener's analysis of stylistic tension (1913); Bastian's analysis of the problem of temptation (1930); Wickert's examination of Milton's drama plans (1955); Grun's interpretation of the fall (1956); MoritzSiebeck's structural and aesthetic justification of the last two books of Paradise Lost (1963); Spevack-Husmann's examination of the relevance of the medieval tradition of allegorical and typological myth interpretation for Milton's mythological comparisons (1963); Markus's study of the parenthesis as rhetorical means of psychological influence (1965); Hagenbuchle's analysis of the fall(1969); Maier's examination of contrast and parallel as structural elements (1974); Slogsnat's exploration of the dramatical structure and tragic nature (1978); Schrey's account of Milton's reception in Germany (1980); and Klein's study of astronomy and anthropocentric in Milton's attitude towards science (1986). These studies deserve to be better known by the English-speaking scholarly community for their different points of view and their good understanding of Milton's art.Milton's Paradise Lost is still appreciated in Germany and continues to have many readers.
Department of English
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Moon, Jang-Hwan. "Paul's discourse for the Corinthians' edification :a socio-rhetorical interpretation of 2 Corinthians 10-13." Thesis, Stellenbosch : University of Stellenbosch, 2004. http://hdl.handle.net/10019.1/16066.

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Thesis (D. Th.)--University of Stellenbosch, 2004.
ENGLISH ABSTRACT: The difficulties attending the reading 2 Cor 10-13 are widely recognized. This dissertation aims to interpret the text by means of socio-rhetorical analysis and to investigate what its real purpose is. Our hypothesis is that this Pauline discourse aims at the Corinthians’ edification by defending his apostolic lifestyle and so giving them a good example of imitatio Christi, imitatio Pauli (Chapter 1). Chapter 2 surveys the recent studies of 2 Cor 10-13 from various approaches, viz. literary historical approach, historical approach, rhetorical approach, and ethical and social-scientific approach. Because of the limited results of each approach used alone, we need a multidimensional and multi-disciplinary method is required. Chapter 3 reconfigures the sociorhetorical approach developed by Robbins into a fourfold dimensional analysis for a more adequate reading of 2 Cor 10-13: a rhetorical analysis; an analysis of intertexture and rhetorolect; an analysis of social, cultural and ideological texture; and an analysis of sacred texture. Chapter 4 analyzes the rhetoric of 2 Cor 10-13. The four realities of the rhetorical situation are the invasion of the outsiders against Paul, the discontent of the insiders with Paul, the conflict concerning Paul’s support, and the plan of Paul’s upcoming visit. The rhetorical arrangement, as a deliberative argumentation but including judicial and epideictic elements, is summarized as follows: exordium and propositio (10:1-11); narratio (10:12-18); argumentatio (11:1-13:4); peroratio (13:5-10). The argumentatio marshals four arguments: what is the true character of the intruders? (11:1-21a); what is the servant of Christ like? (11:21b-12:10); who is whose benefactor? (12:11-19); what sort of man do they expect with Paul’s upcoming visit? (12:20-13:4). Chapter 5 discusses the intertexture and rhetorolect of 2 Cor 10-13. The discourse is thickly intertextured providing the vivid picture and the persuasive rationale for his arguments, and is woven of various rhetorolects. The main rhetorolect is prophetic, which focuses on Paul whom God has chosen to take leadership in the production of righteousness. By blending this rhetorolect with priestly, our text manifests that Paul, in weakness and sufferings, according to God’s call, is following the example of Christ.Chapter 6 explores the social, cultural and ideological textures in 2 Cor 10-13. In social texture, the discourse has a vision of acquiring cognitive abilities for the aim of transforming people so they may build a Christian community in faith until God transforms all. In cultural texture, the discourse utilizes the conventions of dominant culture, but rejects its central values and creates an antithetical set of values based on the crucified Christ. In ideological texture, the discourse presents the social ethos that opposes the dominant social order: it represents rather the interests of the socially weak. The Pauline discourse, however, legitimises his position of primary authority over the Corinthian Christians. Chapter 7 investigates the sacred texture in 2 Cor 10-13. The discourse establishes a theology which is balanced by the crucified and resurrected Christ. Christ’s crucifixion and resurrection is recapitulated in Paul’s apostleship, discipleship and servant-ship in the form of imitatio Christi, and must be reproduced in the Corinthian church in the form of imitatio Pauli. In the final assessment, the main purpose of 2 Cor 10-13 is defined as the edification of the Corinthian church through defending Paul’s apostolic lifestyle, which is characterized by the imitatio Christi. Paul’s lifestyle is derived from Christ who was crucified and resurrected by the power of God, demonstrating God’s power manifested in human weakness. Now it is the Corinthians’ turn to demonstrate the divine power manifested in their imitatio Pauli.
AFRIKAANSE OPSOMMING: Daar word algemeen aanvaar dat daar probleme is met die lees van 2 Kor. 10-13. Hierdie verhandeling probeer om deur middel van sosiaal-retoriese analise die teks te ontleed en die ware oogmerk daarvan te ondersoek. Die hipotese waarvan uitgegaan word, is dat die Pauliniese diskoers ingestel is op die geestelike opheffing van die Korintiërs deur sy verdediging van die apostoliese lewenstyl en deur vir hulle ’n goeie voorbeeld van imitatio Christi, imitatio Pauli te stel (Hoofstuk 1). Hoofstuk 2 bestudeer onlangse ondersoeke na 2 Kor. 10-13 vanuit verskillende benaderingshoeke, naamlik die literêrhistoriese benadering, die historiese benadering, die retoriese benadering, en etiese en sosiaalwetenskaplike benaderings. Die beperkte resultate wat die afsonderlike gebruik van elke benadering sou oplewer, vereis dat ’n multidimensionele en multidissiplinêre metode gebruik moet word. Hoofstuk 3 rekonfigureer die sosiaal-retoriese benadering wat deur Robbins ontwikkel is, tot ’n viervoudige dimensionele ontleding vir ’n vollediger lees van 2 Kor. 10-13: ’n retoriese analise; ’n analise van intertekstualiteit en reterolek; ’n analise van sosiale, kulturele en ideologiese intertekstualiteit; en ’n analise van gewyde tekstualiteit. Hoofstuk 4 ontleed die retoriek in 2 Kor. 10-13. Die vier realiteite van die retoriese situasie is die inval van die buitestanders teen Paulus, die ontevredenheid van lede van die binnekring jeens Paulus, die konflik met betrekking tot Paulus se ondersteuning, en die plan met betrekking tot Paulus se voorgenome besoek. Die retoriese skikking, as ’n beraadslagende betoog, maar met inbegrip van forensiese en epideiktiese elemente, word soos volg opgesom: exordium en propositio (10:1-11); narratio (10:12-18); argumentatio (11:1-13:4); peroratio (13:5-10). Die argumentatio behels leiding vir vier argumente: wat is die ware karakter van die indringers? (11:1-21a); waaraan ken ’n mens die dienaar van Christus uit? (11:21b-12:10; wie is wie se weldoener? (12:11-19); watter soort man verwag hulle met Paulus se voorgenome besoek? (12:20-13:4). Hoofstuk 5 bied ’n bespreking van die intertekstualiteit en reterolek van 2 Kor. 10-13. Die diskoers is ryklik voorsien van intertekste en verskaf so ’n duidelike prentjie en die grondrede vir sy argumente, wat uit verskeie reterolekte ineengeweef is. Die belangrikste reterolek isprofeties, en fokus op Paulus wat deur God uitgekies is om leierskap te aanvaar vir die voortbrenging van regverdigheid. Deur hierdie reterolek met die priesterlike te vermeng, gee ons teks blyke daarvan dat Paulus, in swakheid en lyding, volgens God se roeping, die voorbeeld van Christus volg. Hoofstuk 6 ondersoek die sosiale, kulturele en ideologiese tekstualiteit in 2 Kor. 10-13. In sosiale tekstualiteit het die diskoers ’n visie van die verkryging van die kognitiewe vermoëns wat nodig is vir die oogmerk van hervorming van mense sodat hulle ’n Christen-gemeenskap in die geloof kan bou totdat God almal nuut sal maak. In kulturele tekstualiteit gebruik die diskoers die konvensies van die dominante kultuur, maar verwerp die sentrale waardes daarvan en skep ’n stel antitetiese waardes gebaseer op die gekruisigde Christus. In ideologiese tekstualiteit bied die diskoers die sosiale ethos wat teen die dominante maatskaplike orde in verset is: dit verteenwoordig eerder die belange van dié wat maatskaplik swak is. Die Pauliniese diskoers legitimeer egter sy posisie as primêre gesag oor die Christene in Korinte. In hoofstuk 7 word die gewyde tekstualiteit van 2 Kor. 10-13 ondersoek. Die diskoers bring ’n teologie tot stand wat in ewewig is met die gekruisigde en opgestane Christus. Christus se kruisiging en opstanding word weergegee in Paulus se apostelskap, dissipelskap en dienaarskap in die vorm van imitatio Christi, en moet ook weergegee word in die kerk in Korinte in die vorm van imitatio Pauli. Ten slotte word die hoofdoel van 2 Kor 10-13 gedefinieer as die geestelike opheffing van die kerk in Korinte deur die verdediging van Paulus se apostoliese lewenstyl wat deur die imitatio Christi gekenmerk word. Paulus se lewenstyl is van Christus oorgeneem, wat gekruisig en weer opgewek is deur die krag van God, wat God se mag wat in menslike swakheid na vore kom, demonstreer. Nou is dit die Korintiërs se beurt om bewys te lewer van die goddelike krag deur hulle imitatio Pauli.
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Rowan, Stephen Charles. "A dancing of attitudes : Burke’s rhetoric on Shakespeare." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25965.

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Since F.S. Boas coined the term in 1896, All's Well That Ends Well, Troilus and Cressida, and Measure For Measure have been generally accepted as "problem plays," and many critics have offered biographical, thematic, and formal explanations of why these plays are so "dark." In this thesis, I accept that these plays are "problems" and I propose a rhetorical explanation for dissatisfaction with them, especially with their endings. Drawing on Kenneth Burke's philosophy of literary form and his anthropology of man as the symbol-using animal, I show that in these plays Shakespeare frustrates the expectations of an audience for a definite ending through death or marriage which would define the "terms" characterized in each play; secondly, he provides no scapegoat whose victimage would allow the audience to recognize an order clearly proposed for its acceptance; finally, he supplies no symbol of order which credibly demonstrates its power to establish a renewed society. As rhetoric, these plays show an intense "dancing of attitudes" toward symbols of order and toward conventional forms which would provide a clear sense of an ending. As such, they show what Burke calls "self-interference" on the part of the playwright — a deliberate balancing of arguments for the sake of "quizzicality" toward language as symbolic action. According to this analysis, the problem plays remain problems for an audience which seeks identification with symbols of order; they are, however, a tribute to the agile mind of a master rhetorician.
Arts, Faculty of
English, Department of
Graduate
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Padgett, Jeffrey Lynn. "The monistic continuity of the Miltonic heresy." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/514853.

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John Milton's Christian Doctrine reveals a number of doctrinal opinions clearly in disagreement with the orthodox Christianity of his day. His four major heresies, his monism itself, his theory of creation ex Deo, his anti-Trinitarianism, and his mortalism, form a logical system, developed in accordance with his monistic conception of the cosmos.Milton's monism denies the Platonic dualism between matter and spirit. He presents a world which is a continuum in which that which is usually called material is merely further removed from God than that which is normally called spiritual. This monism serves as the basis of his concepts of the universe, God, and humanity.Since Milton sees God as the total of reality, the things of this world cannot have their source in anything outside God. They cannot be created either from a preexistent prime matter or from nothing. His monism requires that they somehow be created ex Deo, from God's own substance.Milton's monism denies the possibility of the traditional concept of the Trinity. The Son is neither coeternal, co-essential, nor co-equal with the Father. The Holy Spirit is even less important, subordinate to both Father and Son. Since Christ must also be a unity, Milton presents a unique concept of the Incarnation, in which two total persons are mysteriously combined into one new person.His monism requires that the human being also be a unity. Two heresies result: (1) Traducianism, in which the soul is generated by the parents just as is the body; (2) Thnetopsychic mortalism, in which the entire human being dies together and then is resurrected to either reward or punishment.Through a study of monism, Milton's reader can find a key to the phenomenon of John Milton. He uniquely combines his monism with a staunch Biblical literalism, presenting himself as a Christian, but a Christian with a difference-a Christian who will allow no outside authority of any kind to define his faith. As a part of Milton's general application of a monistic cosmos to all his thought, the monistic continuity of the Miltonic heresy can clearly be discovered.
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Roy, Roxanne. "L'oeuvre de Charles Cotin, ou, Pour une esthétique de la galanterie." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20462.

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This Master's Thesis analyses the work of Charles Cotin an abbot and a poet who, between 1630 and 1665, successfully proved himself in the Literary Salons of France. This thesis will try to determine how his work illustrates well the Gallant esthetics and how his poetical choices reflect but also challenge the great tendencies of the Gallant literature. The analysis of Cotin's Work divides itself into three facets: Lampoons, Religious texts and Gallant poetry. The Gallant esthetics is shown differently as Cotin progressively extricates hermeneutic rules and then try to adapt Theology to the King's entourage. Cotin's work will also be able to show the links between a Gallant literature and the social background of this time.
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Lynch, Marianne. "That great and true Amphibium : mediation and unity in the works of Sir Thomas Browne." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59618.

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The works of Sir Thomas Browne are often described in terms of the contradictions and paradoxes which seem to exist both within his work as a whole and also within the individual essays themselves. The primary focus of this thesis is the relationship between seemingly opposed forms of discourse and systems of thought in the Religio Medici, Hydriotaphia and The Garden of Cyrus. The emergence of analytic discourse in the seventeenth century is presented through the study of changing concepts of religious, political and epistemological mediation. Browne's 'mediate' position within the conflicts of his era is seen as representing a desire to unite apparent opposites and arrive at a 'complete' way of thinking which combines the medieval and the modern. The unified vision he advocates is of interest in both modern science and literary theory, where the premise of objectivity fundamental to analytic thinking is now being questioned.
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Grillner, Katja. "Automata, perspective and music : poetic instruments in the written garden of Salomon de Caus." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23200.

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This study retraces the steps of the 17th century architect and engineer Salomon de Caus through his written and built works, in an attempt to understand the relationship between what he made and the model by which his world was comprehended. The central questions examined with regard to his works are: what correspondence do they reveal between language as a means of conveying knowledge, the world as the source of knowledge, and God the divine creator; and whether "meaning" resides within or without this relation. The interpretation of De Caus' works reveals an epistemological model of a world balancing on the threshold of the modern era of scientific discovery and technological progress. His texts and constructions appear as a means of conveying knowledge with the aim of making the Divine appear as mystery in the human world. De Caus is known to operate two principal layers of meaning in his works. One "mathematical" which addresses the intrinsic meaning of the order of the cosmos and the Divine; the other "narrative", "melodie" or "ornamental", addressing the mediation of situational meaning through matter. Human experience and action was a third factor in the process of mediation. Through the intense experience of the moment of performance, whether architectural, theatrical or musical, man could embody the immaterial knowledge of God. The human artefact was a "poetic instrument" guiding man through life. Today, when living in a world where the dominating paradigm reduces understanding to symbolic logic and God has long since been declared dead, De Caus' poetic model remains highly significant.
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Rocheville, Sarah Dominique. "Pontus de Tyard et les voies musicales, suivi de, Fugue à trois voix silencieuses." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21258.

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This Master's thesis is comprised of two sections. The first one, entitled "Pontus de Tyard et les voies musicales", analyses the representation of music in two of sixteenth century French writer's " Dialogues philosophiques". Indeed, in his work, music is personified by a woman, Pasithee. Through an examination of three different aspects of the relationship between music and writing, we will attempt to grasp the mysterious link between the "Solitaire" and his muse, incarnation of music and of poetic inspiration.
The second section, "Fugue a trois voix silencieuses ", a tale in which three female characters express their "voices", as defined by the rules of harmony established by Johann Sebastian Bach, is a literary transposition of the fugue form. The fugue is a musical form in which the contrapuntal structure includes several voices that blend with and reply to each other. Similarly to a canon, the parts seem to chase within a repeated motif. The literary transposition of the fugue form was fascinating to us. Our story follows the literary tradition which draws its strength from the encounter of music and writing.
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LiBrizzi, Marcus. "Interpretive ground and moral perspective : economics, literary theory, early modern texts." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42080.

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This dissertation provides a critical, systematic survey of economics in literary theory and practice. Since Aristotle, economic categories have been used as interpretive grounds on which to conceptualize the literary text and distinguish it as a moral or normative sphere. Because economic categories presuppose different norms of individual and social action, the use of a specific category as an interpretive ground generates a particular outlook or moral perspective.
In the first part of the discussion, we critique theories in which the literary text is conceptualized as an economy. After distinguishing three distinct models of the "textual economy," we evaluate them in terms of their logical consistency and normative presuppositions. Selecting the model that is the most logically consistent and normatively valuable, we study two early modern works to see if this model operates as an intentional device implicated in a work's form and content. The works chosen are William Shakespeare's Sonnets and William Bradford's history "Of Plimoth Plantation," both of which display a facination with economic discourse.
The second part of the discussion takes up the question of economics in the theory and practice of putting texts in context. We distinguish four different models of contextualization that depend on economic categories. Explicitly or implicitly, contemporary research agendas and critical positions depend on these categories to situate a literary text in a specific setting. An economic category like exchange, for example, is frequently privileged as a common ground, a shared quality or characteristic used to integrate a text with a context. After critiquing models of contextualization, we synthesize the best they have to offer into a new framework. We then use this framework to situate the texts by Shakespeare and Bradford into the historical settings of their production and reception. The result is a picture of the text in context that is vital, a moving picture, quite unlike the customary still life of artifact and background.
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Books on the topic "?-1606 Criticism and interpretation"

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Farley-Hills, David. Shakespeare and the rival playwrights, 1600-1606. London: Routledge, 1990.

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Shakespeare and the rival playwrights 1600-1606. London, UK: Routledge, 1990.

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Rembrandt Harmenszoon van Rijn, 1606-1669, ed. Rembrandt, 1606-1669: The mystery of the revealed form. Köln: Benedikt Taschen, 2000.

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John, Jowett, ed. Shakespeare reshaped, 1606-1623. Oxford [England]: Clarendon Press, 1993.

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Ábalos, José Luis Nuevo. Miguel Cabello Valboa (1536-1606), o, La invención de la novela incaica: Ensayo histórico-filológico. Madrid: Edición Personal, 2009.

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Pacelli, Vincenzo. L' ultimo Caravaggio: Dalla Maddalena a mezza figura ai due san Giovanni (1606-1610). Todi (Perugia): Ediart, 1994.

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Carlin, Claire L. Pierre Corneille revisited. New York: Twayne Publishers, 1998.

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Michelle, Lee, ed. Shakespearean criticism. Farmington Hills: Thomson Gale, 2005.

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1607-1656, Rosa Pacecco de, ed. Giovan Francesco de Rosa detto Pacecco de Rosa, 1607-1656. [Pozzuoli, Italy]: Paparo, 2008.

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Vistarini, Antonio Bernat. Francisco Manuel de Melo (1608-1666): Textos y contextos del barroco peninsular. Palma: Universitat des les Illes Balears, 1992.

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Book chapters on the topic "?-1606 Criticism and interpretation"

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Bogel, Fredric V. "New Formalist Interpretation." In New Formalist Criticism, 102–52. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137362599_4.

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Cohen, Ralph. "Literary Criticism and Artistic Interpretation." In Reason and Imagination, 279–306. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003222996-14.

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Bonelli, Paolo, Giorgio Guidotti, Enrico Paolini, and Giulio Spinucci. "Pacemaker Stimulation Criticism at ECG." In New Concepts in ECG Interpretation, 175–85. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91677-4_16.

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Wang, Fengzhen. "Marxist Literary Criticism in China." In Marxism and the Interpretation of Culture, 715–22. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19059-1_49.

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Capellmann, Herbert. "Later Criticism of the Copenhagen Interpretation." In SpringerBriefs in History of Science and Technology, 77–81. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61884-5_10.

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Amesbury, Richard. "Norms, Interpretation, and Decision-Making: Derrida on Justice." In Morality and Social Criticism, 46–64. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230507951_3.

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Mallinson, Jane. "Objects of Attention: The Literary Criticism." In T.S. Eliot’s Interpretation of F.H. Bradley, 23–34. Dordrecht: Springer Netherlands, 2002. http://dx.doi.org/10.1007/978-94-017-0411-3_3.

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Gutiérrez Pozo, Antonio. "Subjectivity and Transcendence: Husserl’s Criticism of Naturalistic Thought." In Man’s Self-Interpretation-in-Existence, 379–85. Dordrecht: Springer Netherlands, 1990. http://dx.doi.org/10.1007/978-94-009-1864-1_30.

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Barrett, Michèle. "The Place of Aesthetics in Marxist Criticism." In Marxism and the Interpretation of Culture, 697–713. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19059-1_48.

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Davis, Todd F., and Kenneth Womack. "Introduction: Moving beyond the Politics of Interpretation." In Formalist Criticism and Reader-Response Theory, 1–10. London: Macmillan Education UK, 2002. http://dx.doi.org/10.1007/978-1-4039-1916-8_1.

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Conference papers on the topic "?-1606 Criticism and interpretation"

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Al-dabbagh, Asma. "The Nature of Interpretation in Architectural criticism." In INTERNATIONAL CONFERENCE ON ARCHITECTURAL AND CIVIL ENGINEERING 2020. Cihan University-Erbil, 2021. http://dx.doi.org/10.24086/aces2020/paper.256.

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The expressive systems in architecture consists of two components: the system of forms and the system of meanings, these systems are linked together by unwritten rules, which are a matrix of correlations / implications that determine any meanings associated with any forms. The designer remains unsure of the possible interpretations of his design, because of the variation in the nature of meaning, discovered by the recipient, and this stems from the variation of reliance on the theory of interpretation in this regard. Many studies of architectural semiology indicate some of these theories; Classical theory believes in the natural meaning, which influenced by form's geometry, Pragmatic theory believes in the common meaning, which stems from the use of form within different contexts and according to social custom. The research attempts to explore the aspects of interpretation adopted by two critics, in order to determine the theory adopted by them, so the designer will be aware to the nature and type of meaning comprehended by viewers. The results showed the adoption of common and inclusive meanings, also showed the variation in the role of architectural Expressions in confirming or multiplying the meaning, influenced by contexts and signal types. The conclusion emphasized the importance of historical references, stylistic trend, and spatial contexts in form interpretation.
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"Interpretation of "Wuthering Heights" from the Perspective of Eco-criticism." In 2018 4th International Conference on Economics, Management and Humanities Science. Francis Academic Press, 2018. http://dx.doi.org/10.25236/ecomhs.2018.126.

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Kenyhercz, Róbert. "Interpretation of data and sources in etymological research." In International Conference on Onomastics “Name and Naming”. Editura Mega, 2022. http://dx.doi.org/10.30816/iconn5/2019/39.

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The aim of the paper is to emphasize the importance of source criticism in etymological research. It is widely known that the main sources for the early history of toponyms in the Carpathian Basin are the charters created in the medieval Hungarian Kingdom, because these official documents contained a large number of vernacular proper names embedded in the Latin text. However, it is important to mention that the medieval charters were produced by the chancery and places of authentication along specific principles and needs. I argue that this circumstance must always be considered during the interpretation of the data. I will show some examples illustrating that – in certain cases – we have to take into account the nature of the sources in the reconstruction of the genesis of place names. My goal is to offer a brief outline of this issue through my own investigations.
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Verner, Inna. "The legacy of Maximus the Greek in the biblical revision of Euthymius Chudovsky (1680s)." In Tenth Rome Cyril-Methodian Readings. Indrik, 2020. http://dx.doi.org/10.31168/91674-576-4.04.

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The paper explores the use by Euthymius Chudovsky of Maximus the Greek’s achievements in the linguistic revision of biblical texts. Correction and translation of the New Testament by Euthymius in the 1680s demonstrates not only the appeal to the texts translated by Maximus as language patterns, but also the development of his philological criticism of the text of Holy Scripture and its interpretation.
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Fateeva, I. "“AN EVERLASTING DAY” (IN RELATION TO THE PAINTING “HUNTERS IN THE SNOW” BY PIETER BRUEGEL)." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2554.978-5-317-06726-7/93-96.

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The article gives an aesthetic interpretation of the art criticism judgment - “An everlasting day” in relation to the painting “Hunters in the Snow” by the Dutch artist, representative of the Northern Renaissance (16th century) Pieter Bruegel (Muzhitsky). In the context of the ideas of phenomenological aesthetics, the type of painting is determined, a conclusion is made about the applicability of the considered judgment to paintings of a certain type, examples of such works from Russian art are given.
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Xu, Manyan. "A New Interpretation of Chinese Versions of Stray Birds Based on Reiss's Translation Criticism A Case Study of the Translations by Feng Tang and Zheng Zhenduo." In Proceedings of the 2nd International Conference on Contemporary Education, Social Sciences and Ecological Studies (CESSES 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/cesses-19.2019.128.

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Aravot, Iris. "An Attempt at Making Urban Design Principles Explicit." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.42.

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Since its rise as an autonomous field in the seventies, Urban Design has been a conglomerate of diverse concepts and value outlooks.The present approach, which is an a posteriori propositional expression of applications in actual practice and education, presents both theory and method by means of ten points. The approach is basically generated by formal considerations, thus originating in and focussing on aspects which cannot be expressed through theory and methods of other disciplines. It starts with systematic, conventional and objective studies which are then connected to a system of manipulations – the rules of game – which emphasize interpretation and are clarified by narrative and formal metaphors. The ‘rules of game’ set a framework of no a priori preferred contents, which is then applied according to local characteristics, needs and potentials. This conceptual – interpretative framework imposes a structural, consistent and hierarchical system on the factual data, so as to assure the realization of two apparently opposed values: (1) unity and phenomenological qualities and (2) free development and unfolding of the design that .The propositional expression of the approach aims at its exposure to explicit evaluation and criticism.
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Aslandogan, Y. Alp. "PRESENT AND POTENTIAL IMPACT OF THE SPIRITUAL TRADITION OF ISLAM ON CONTEMPORARY MUSLIMS: FROM GHAZALI TO GÜLEN." In Muslim World in Transition: Contributions of the Gülen Movement. Leeds Metropolitan University Press, 2007. http://dx.doi.org/10.55207/mnsp5562.

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Western analysts of trends in the contemporary Islamic world often overestimate the impact of contemporary Sufi orders and/or underestimate the impact of the spiritual tradition of Islam. Among the elements of the spiritual tradition conducive to religious pluralism is the ‘mirror’ concept: every human is seen as a mirror of God in three aspects: reflecting the at- tributes and names of God as His work of art, reflection through dependence on God, and reflection through actions God commands or commends. Since only the last aspect is vol- untary, every human, regardless of creed, is a mirror of God in at least the first two aspects. This is a potent argument for peaceful coexistence in religious diversity. The perspective of the spiritual tradition is emphatically inclusive and compassionate and naturally lends itself to non-violence, going beyond mere tolerance to hospitality and friendship. There are impor- tant impediments that prevent this perspective from having a greater impact: (1) the literalist opposition to flexible interpretation of concepts from the Qur’an and the Prophetic tradition, and the wide definition of innovation or heresy (‘bid`a’); (2) deviations of some Sufi orders and subsequent criticisms by orthodox Muslims; and (3) the impact of the politicisation of religion by some groups and political moves by certain Sufi orders. This paper argues that the only approach that has a chance of influencing the majority of contemporary Muslims in positive ways without being open to criticism is the ‘balanced’ spiritual tradition, after the style of the Companions, sometimes called tasawwuf, which strives to harmonise the outer dimensions of Islamic law and worship with the inner dimen- sion of spiritual disciplines firmly rooted in the Qur’an and Prophetic tradition. This paper will present an analysis of this ‘balanced’ spiritual tradition in Islam, from Ghazali, through Rumi, to Gülen.
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