Academic literature on the topic '1639-1699 Criticism and interpretation'

Abstrak: Aceh merupakan wilayah yang istimewa. Dari kawasan ini, lahir kerajaan Islam salah satunya Kesultanan Aceh Darussalam. Dalam perjalanan sejarahnya, Kesultanan Aceh Darussalam pernah dipimpin oleh perempuan (sultanah). Kedudukan perempuan sebagai pemimpin atau sultanah sering menjadi isu yang kontroversi. Berangkat dari fakta sejarah tersebut, permasalahan dalam penelitian ini adalah bagaimana kebijakan politik sultanah Kesultanan Aceh Darussalam pada tahun 1641-1699. Tujuan penelitian ini adalah untuk menguraikan kebijakan hukum sultanah Kesultanan Aceh Darussalam pada tahun 1641-1699. Penelitian ini menggunakan metode historis yaitu heuristik, interpretasi, kritik sumber dan historiografi. Hasil penelitian menunjukkan bahwa setelah kematian Sultan Iskandar Thani, Kesultanan Aceh dipimpin oleh sultanah yaitu Sultanah Taj ‘Alam Safiyyat al-Din, Sultanah Nur al-‘Alam Naqiyyat al-Din, Sultanah ‘Inayat Shah Zakiyyat al-Din dan Sultanah Kamalat al-Din. Kebijakan hukum sultanah menjadi daya tarik karena Kesultanan Aceh Darussalam adalah kerajaan yang bercorak Islam.Kata Kunci: Hukum, Sultanah, Kesultanan, Aceh, DarussalamAbstract: Aceh is a special region. From this area, an Islamic kingdom was born, one of which was the Sultanate of Aceh Darussalam. In the course of its history, the Sultanate of Aceh Darussalam was once led by a woman (sultanah). Women's position as leader or sultanah is often a controversial issue. Departing from these historical facts, the problem in this study is how the political policies of the Sultanate of Aceh Darussalam Sultanate in 1641-1699. This study uses historical methods, namely heuristics, interpretation, source criticism and historiography. The results showed that after the death of Sultan Iskandar Thani, the Sultanate of Aceh was led by sultans namely Sultanah Taj 'Alam Safiyyat al-Din, Sultanah Nur al-'Alam Naqiyyat al-Din, Sultanah' Inayat Shah Zakiyyat al-Din and Sultanah Kamalat al-Din . Sultanate's political policy became an attraction because the Sultanate of Aceh Darussalam was a kingdom with an Islamic pattern. Keywords: Law, Sultanah, Kesultanan, Aceh, Darussalam

Alarcón was writing at a time when Spaniards increasingly came to perceive Spain as a nation in decline, and to seek the remedy for their country's malaise in a whole series of economic, political, social, and, in particular, moral reforms. One consequence of this was to intensify the debate concerning effect of the theatre on the moral values of the young, another was to stimulate a renewed interest in the art of war and the martial virtues which were held to have been the source of earlier glories, and yet another was to impel political philosophers and theologians alike to consider anew how the necessities of government in this uncertain political and economic climate might be reconciled with the ethical principles promoted by the Catholic Church. This study contends that both the style and the content of his plays show Alarcón to have been both well-informed and keenly interested in such matters, and indicate that, whilst he concurs with many contemporary moralists in identifying the source of the national malaise as a self-indulgent obsession with sensual pleasure and social posturing, and in suggesting that the cure lies in an adoption of a moral code based upon stoic self-discipline and other such virtues, he makes it clear that the implementation of these virtues in the complex situations encountered in everyday life depends to a large extent upon the prudent use of deception. Thus, in his work, Alarcón presents two principal forms of deception: the lies, slanders, illusions, and acts of imposture of those who seek the illicit gratification of their worldly desires; and the cautious equivocation, concealments, disguises, and stratagems of those who know that appearances deceive and who seek to ensure the reputation, integrity and safety of their compatriots and co-religionists. I also maintain that this is a distinction which applies to the comedia as much as to the world which it portrays, and that Alarcón is critical of the indecorous actions and the ornate language, music and spectacle of the comedia as popularised by Lope, and develops a dramatic technique which requires the spectator to submit his initial emotional and imaginative response to the drama to the scrutiny of reason if he is to understand the play. In this way, Alarcón's own creative technique proves to be yet another example of the prudent use of deception illustrated in his plays.

This dissertation explores the influence of European and Mesoamerican traditions of urbanization on the plays of Juan Ruiz de Alarcon, a sixteen- seventeenth-century dramatist born in the Spanish Viceroyalty of New Spain. The objective of this dissertation is to study the analogy between urban designs and their representation in theatre from the Ancient Greece until the Golden Age Spanish Theatre. As we acknowledge the influence of the urban configuration on the mentality of that particular period, we also seek to explain how the surrounding reality becomes like an ideological postulate with the passing of time. By analysing and defining the cities from the Ancient Greece to the period known as the Baroque, we aim at defining the new form taken by their inherent spatial notions when they merge with those of the ancient historic capital of the Mexica empire, that is, Mexico-Tenochtitlan. As the two worlds were coming into contact, the changes as well as the exchange of cultural legacies and urban experiences endowed the author's town of birth with a new way of communicating, which was at the same time both Spanish and non-Spanish. This allowed the author to write plots where the urban setting would not determine all the characters' actions and reactions, as was the case with the Golden Age dramatists in Spain.

Les XIXe et XXe siècles sont caractérisés comme des siècles de la critique. La plus grande partie de cette thèse porte sur l’analyse de la « Nouvelle Critique » en relation avec l’œuvre de Jean Racine. Ce mouvement critique qui a marqué les années soixante, s’intéresse plutôt aux structures sous-Jacentes qui peuvent être dégagées d’une œuvre littéraire.Les représentants de la Nouvelle Critique qui sont en principe, Lucien Goldmann, Charles Mauron et Roland Barthes dégagent de l’œuvre racinienne, chacun de sa propre façon, une structure de base. La critique sociologique de Goldmann, la psychocritique de Mauron et la critique structurale de Barthes offrent plusieurs pistes de réflexion.Présenter les méthodes proposées par la Nouvelle Critique, dégager l’essentiel de ses théories et apprécier leur valeur en démontrant la raison qui les a rendues fondamentales ainsi que comprendre la polémique déclenchée autour d’elle sont pour ce travail des tâches à accomplir. Or, cerner les enjeux de la « Nouvelle Critique » dans la critique racinienne en examinant les critiques faites par d’autres critiques constitue l’objectif de ce travail
The nineteenth and twentieth centuries are characterized as centuries of literary criticism. The primary objective of this thesis will focus on the methodology used by “New Criticism” in relation to the work of Jean Racine. The New Criticism was a formalist movement, popular in the sixties, which focuses on objectively evaluating the underlying structure and text from literary work.Representatives of ‘‘New Criticism”, such as, Lucien Goldmann, Charles Mauron and Roland Barthes utilized structure methods to interpret Racine's literary works. The Sociological criticism of Goldmann, the Psychoanalytic criticism of Mauron, and the Structuralism of Barthes offer several areas of consideration.The aim of this study is to present the methods proposed by “New Criticism”, to reveal the essence of its theories, to assess their value by demonstrating the reason of their importance, and to understand controversy sparked around this formalist movement. So, identifying the “challenges of the ‘’New Criticism” in Racine’s criticism’’ by examining the criticisms made by other critics is the purpose of this work

徐麗莎.
論文 (哲學碩士)--香港中文大學, 1999.
參考文獻 (leaves 155-173).
附中英文摘要.
Xu Lisha.
Lun wen (zhe xue shuo shi)-- Xianggang Zhong wen da xue, 1999.
Can kao wen xian (leaves 155-173).
Fu Zhong Ying wen zhai yao
緒論 --- p.1
Chapter 第一章 --- 生平 --- p.6
Chapter 第一節 --- 家族 --- p.6
Chapter 第二節 --- 生平傳略 --- p.7
Chapter 一、 --- 前期 --- p.8
Chapter 二、 --- 後期 --- p.9
Chapter 第三節 --- 生平綜述 --- p.12
Chapter 一、 --- 山人布衣 --- p.12
Chapter 二、 --- 逸而不隱 --- p.14
Chapter 三、 --- 享受逸趣 --- p.15
Chapter 1. --- 翰墨玄賞 --- p.16
Chapter 2. --- 茶酒娛情 --- p.18
Chapter 3. --- 山水攬勝 --- p.19
Chapter 4. --- 庭園寄趣 --- p.21
Chapter 第四節 --- 交遊 --- p.22
Chapter 一、 --- 師長 --- p.23
Chapter 二、 --- 知交 --- p.26
Chapter 三、 --- 藝苑 --- p.29
Chapter 1. --- 繪事契友 --- p.29
Chapter 2. --- 來從後學 --- p.33
Chapter 3. --- 鑒藏同好 --- p.35
Chapter 四、 --- 方外 --- p.37
Chapter 五、 --- 門生 --- p.38
Chapter 第二章 --- 思想 --- p.52
Chapter 第一節 --- 理想人格 --- p.52
Chapter 第二節 --- 對時代思潮的回應 --- p.56
Chapter 第三節 --- 生活及處世態度 --- p.62
Chapter 一、 --- 山居取閑之生活境界 --- p.62
Chapter 二、 --- 退離自保之處世態度 --- p.63
Chapter 三、 --- 自省山人身分 --- p.65
Chapter 四、 --- 情物相觸 --- p.67
Chapter 第三章 --- 繪畫理論 --- p.74
Chapter 第一節 --- 背景 --- p.74
Chapter 一、 --- 文人畫的勃興 --- p.74
Chapter 二、 --- 江南文化 --- p.75
Chapter 三、 --- 哲學思想與繪畫 --- p.77
Chapter 四、 --- 松江畫派之興起 --- p.78
Chapter 第二節 --- 繪畫理論 --- p.80
Chapter 一、 --- 畫史觀 --- p.80
Chapter 1. --- 怡情作用 --- p.80
Chapter 2. --- 正視藝術地位與功能 --- p.81
Chapter 3. --- 以畫證書法彝器 --- p.83
Chapter 4. --- 南北宗論 --- p.84
Chapter 二、 --- 鑒藏觀 --- p.95
Chapter 1. --- 鑒藏家的修養與態度 --- p.95
Chapter 2. --- 收藏與保存 --- p.97
Chapter 三、 --- 批評觀 --- p.98
Chapter 1. --- 批評家的品格和修養 --- p.99
Chapter 2. --- 對畫家的批評 --- p.100
Chapter i) --- 見識與學養 --- p.100
Chapter ii) --- 師法古人 --- p.103
Chapter iii) --- 詩、書、畫合一 --- p.104
Chapter iv) --- 超塵脫俗 --- p.108
Chapter v) --- 對同時代藝術家的批評 --- p.110
Chapter 四、 --- 實踐論 --- p.112
Chapter 1. --- 摹古的入手方法 --- p.112
Chapter 2. --- 生與熟 --- p.113
Chapter 3. --- 工具、顏色與技法 --- p.115
Chapter 第三節 --- 繪畫作品 --- p.119
Chapter 一、 --- 尊古與師古 --- p.119
Chapter 二、 --- 書畫娛情 --- p.122
Chapter 三、 --- 詩、書、畫三才 --- p.124
Chapter 第四章 --- 評價與地位 --- p.138
Chapter 第一節 --- 身分與學行 --- p.138
Chapter 第二節 --- 明人輯書與“南北宗論´ح作者 --- p.139
Chapter 第三節 --- 成就、地位及影響 --- p.143
Chapter 一、 --- 繪畫理論 --- p.143
Chapter 二、 --- 繪畫創作 --- p.144
Chapter 三、 --- 烘托董其昌 --- p.147
Chapter 四、 --- 璧賞成就 --- p.150
Chapter 五、 --- 促進書畫買賣 --- p.152
附錄一參考書目 --- p.159
附錄二 陳繼儒年譜 --- p.174
附錄三陳繼儒書畫作品目錄 --- p.200
附錄四圖版 --- p.210

This exegesis combines theory and art practice to interrogate the idea that self-portraiture by women artists can be positioned, and interpreted, as a practice that strategically intervenes in the politics of representation, gender and identity. The focus of this study is the face. The represented female face is identified as a site that is both problematic and dynamic for women artists. The face involves two contradictory traditions of representation for women. It is generally used in portraiture and self-portraiture to indicate the presence of the individual, the 'subject'. However, the female face has more often been represented as a de-individualised site, the object. When a woman artist attempts to make a self-portrait she must, therefore, re-negotiate the relationship between object and subject in order to make room for her own representations of subjectivity. In this study I closely analyse how other women artists have employed their faces in their self-portraits. I also provide insights into my own practice of self-portraiture through the use of a commentary, which follows my thoughts and decisions throughout the art making process. I link the art works to theoretical debates concerning feminist art history, faciality and subjectivity. By inter-weaving praxis and theory in this way the study provides a new perspective on these debates.