Academic literature on the topic '1785-1863 Criticism and interpretation'

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.

Singapore in the period before Raffles' arrival was an area that was still covered in forests, mangroves, and mud. Raffles that who had renewed the agreement in 1785 with the Sultan of Johor then bought and built Singapore into a very strategic and bustling international port and trading city center. This study aims to explain Singapore's growth after Raffles' presence, explain Raffles' efforts in building Singapore, and explain Raffles' successful policy in building Singapore as a trading center. The research method used is the historical method through the stages, namely; heuristics, criticism, verification, interpretation and historiography. The results of this study provide information about the impact of the arrival of governor-general Raffles in the economy in Singapore, which can also affect progress in Indonesia and Southeast Asia. Singapura pada masa sebelum kedatangan Raffles merupakan wilayah yang masih tertutup hutan, bakau, dan lumpur. Raffles yang telah memperbaharui persetujuan pada tahun 1785 dengan Sultan Johor kemudian membeli dan membangun Singapura menjadi pusat pelabuhan dan kota dagang internasional yang sangat strategis dan ramai. Penelitian ini bertujuan untuk menjelaskan pertumbuhan Singapura setelah kehadiran Raffles, menjelaskan upaya Raffles dalam membangun Singapore, dan menjelaskan kebijakan Raffles yang sukses membangun Singapura selaku pusat perdagangan. Metode penelitian yang digunakan adalah metode sejarah melalui tahapan yaitu; heuristik, kritik, verifikasi, interpretasi dan historiografi. Hasil penelitian ini memberikan sebuah informasi tentang dampak kedatangan gubernur jenderal Raffles dalam bidang perekonomian di Singapura yang dapat berpengaruh juga pada kemajuan di Indonesia dan Asia Tenggara.

Correcting the early Manichean interpretation of the abundant Baudelairian image of the black, later criticism tends to downplay the realist slavery framework and put emphasis on the psychological and philosophical dimension of the relationship between the master and the slave. My historicized analysis of “A une dame créole” uncovers evocations of slavery, violence and revolution in the vocabulary and imagery of the poem. By inscribing into the Ronsardian tradition a former French slave colony whose ruling elite never embraced revolutionary ideas, I argue, the poem puts the colonial enterprise into the perspective of France’s nation building and problematizes both. The 1863 prose poem “La belle Dorothée” in which Baudelaire refers back again to his experience in the Mascarene Islands, exposes the crude nature of the French policy that pretended to give the slaves freedom while forced them to live in idleness, poverty or prostitution. If Baudelaire’s oft discussed exoticism manifests a rejection of the society of his time, his longing for Africa and the Indian Ocean should not be dismissed as escapism.

The transition from patriotism and sense of community to the creation of the distinct political community in early twentieth century was through an imaginative interpretation of history in the writing of Dwijendralal Roy (1863–1913), a poet, dramatist and composer of Bengal. Imagination through creative ‘use’ of history had been directed to underline the location of time and space of an emotive community. By this, one could retrieve, criticize and create this emotion through time and space, its definitiveness continuously shifting, evolving, through family, country and community. In the process of creating a nation the notion of the ‘other’ was necessary. This other with all its cultural connotations was found in the stereotypes of ‘Muslim’ and ‘Islam’ in opposition to ‘Rajput’ and ‘Hindu’. It is through these oppositional levels and the interplay of these oppositions that a new nation state could be formed. The notion of Muslim rule as the external enemy was created whose historical function was to provide the occasion for a heroic battle in which virtue could be highlighted. Even within this tradition of writing Dwijendralal brought in a strong note of moderation. There is neither a very powerful tendency to praise everything ‘Hindu’, nor look down upon Islam, which sometimes created apparent contradiction. Where there is valourization of the Rajputs in the ‘Rajputs plays’ it has been placed in the context of the Mughals as the ‘other’. But in the study of the Mughals in the ‘Mughal plays’ there is a concentration on the family and kinship. Both the types are set in about the same time frame yet the values stressed on are different. An analysis of Dwijendralal’s ‘historical’ plays brings into focus an attempt at rewriting history to transcend history as a discipline with its boundaries of time and space, intertwining facts and imagination, through real and created characters to establish the need for a universal ethos.

AbstractIn the present paper an interpretation of the political dimension of pragmatic aesthetic reflection is proposed. The interconnection between politics and aesthetics in three classic American pragmatists: William James (1842–1910), John Dewey (1859–1952), and George Herbert Mead (1863–1931) is evoked. The author claims that by emphasizing the role of democratic values in philosophy and life, the classic American pragmatists encroach upon the field of the arts and aesthetics. Their emphasis put upon individual activity, free expression of thoughts, plurality of the forms of expression, and acceptance of criticism as a tool helping create better solutions in human cooperation can easily be converted into the postulates about the character of the artistic principles and of the nature of the aesthetic norms and values.

Fairy Tales have been an important part of peoples' cultural heritage since time immemorial. From a very early age on, children hear stories about witches, giants, dwarf's, and magicians which make up their first entry into the literary world. Only recently have scholars begun to research just how much influence these stories have on children and how they might have a different impact on girls than on boys. This thesis will investigate the world of fairy tales in relation to their historical context and their differing relevance for male and female readers. I will examine the fairy tales of the brothers Grimm and of Ludwig Bechstein because these three scholars count among the most important fairy tale narrators in the German-speaking region. I will limit my examination to the witch in fairy tales because of all the figures she seems to have the most impact on the audience.

In this thesis, I analyze literary histories published between 1845 and 1914 to demonstrate a pattern of reception regarding the works of Bettine von Arnim. I will ask how this writer was able to express her radical social-political attitude in writing--relatively unscathed by the repressions of restoration. It will be apparent that a female political author, considered less of a risk to society, faced fewer dangers of censorship than her male counterparts. At the same time, 19th century definitions of Bourgeois women's behavior also served to marginalize her work. She was called a "child" not to be taken seriously, placed in the shadow of men (Goethe, Clemens Brentano, Achim von Arnim), and her life was generally considered before her work. This placement of the woman outside the realm of the important, her construction as other, caused her exclusion from the canon.

This thesis is a study of rebellious child protagonists in Victorian bildungsroman. It discusses five novels ??? Jane Eyre, The Mill on the Floss, What Maisie Knew, Vanity Fair and Kim ??? that feature ???radical child??? protagonists who use indirect methods of narrative control to resist conservative models of character development. It argues that these novels form a subset of subversive English bildungsromane, which threaten the genre???s traditionally liberal values. Theories of narrative desire, reader seduction and discursive manipulation are used to reveal how the radical child in the Victorian bildungsroman takes command of the reader???s sympathy and gains power over the realist text, despite its physical and social powerlessness. Especially important is the presence of a fantasy counterplot, which coexists with, and ultimately undermines, the bildungsroman???s realistic surface narrative of successful socialisation. The counterplot allows radical child protagonists to develop in a non-linear manner that contradicts bourgeois ideals of stable progress. Focusing instead on sites of rupture between the individual and society, subversive bildungsromane resist both the dialectical model of character, which aims to harmoniously unite the protagonist with the realist world, and the dialogic model of interaction, which requires the restriction of personal liberty for the common good. This rebellious child in the Victorian bildungsroman thus represents an assault on the genre???s democratic ideals. Rejecting compromise, the radical child replaces the bildungsroman???s central ethic of interpersonal responsibility with an individualistic ethic of domination. Indeed, the thesis argues that the appeal of such child protagonistslies in their rejection of the obligatory, but anticlimactic, exchange of freedom for security that underpins the realist bildungsroman???s social contract, a rejection attractive to the reader precisely because it is unrealisable in reality. Finally, the thesis compares this radical child with the Gothic monster. While the monster is punished for its subversion, the radical child???s counterplot enables it to enact most of its subversive desires unpunished. The conservative English bildungsroman thus becomes a more effective way of representing asocial energies than the more obviously radical Gothic genre, which openly displays its anti-democratic sentiments.

I am attempting to honestly share Black Elk's vision and story, John G. Neihardt modifies that story in order to embody Black Elk as the classical defeated hero. In transfiguring Black Elk into this image, Neihardt could not avoid the cultural "cues" which forced him to model Black Elk in the conventional image of the defeated hero as described in Bruce Rosenberg's Custer and the Epic of Defeat. By modifying the beginning and ending to Black Elk's story, Neihardt prepares and reinforces the reader's expectations of Black Elk's image as the classical defeated hero. Also, because Neihardt understands the central theme of Black Elk Speaks to be that of Black Elk's failure, it provides him with the incentive to modify Black Elk's vision to depict Black Elk as a classical hero. Finally, Neihardt transfigures Black Elk in order to reflect the contradictory paradigm of the Greek, Ranan, and Christian defeated hero.
Department of English

This thesis investigates the way that moral and aesthetic concerns about the relationship between fiction and reality are manifested in the work of particular novelists writing at different periods in the nineteenth century, Chapter One examines an early-century subgenre of the novel that features deluded female readers who fail to differentiate between fantasy and reality, and who consequently attempt to live their lives according to foolish precepts learned from novels. The second chapter deals with the realist aesthetic of W. M. Thackeray; focusing on the techniques by which his fiction marks its own relationship both to less realistic fiction and to reality itself. The final chapter discusses Oscar Wilde's critical stance that art is meaningful and intellectually satisfying, while reality and realism are aesthetically worthless: it then goes on the explore how these ideas play out in his novel, The Picture of Dorian Gray.
iv, 120 leaves ; 28 cm.

Orientador: Carlos Eduardo Ornelas Berriel
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta tese de doutorado, cujo objeto de investigação é a Carta del Carnaro, escrita por Gabriele D'Annunzio e Alceste De Ambris, analisa os aspectos utópicos, literários e modernistas da constituição fiumana. À luz da fortuna crítica e historiográfica, pretende-se refletir sobre a novidade formal que esse ambicioso projeto apresenta no panorama político moderno. O problema desloca-se para o exame das relações entre matéria histórica e forma literária. Afinal, a Grande Guerra parece reorientar as pesquisas formais desenvolvidas pelas vanguardas italianas, a partir do instante em que a política se torna o tema central. A ambição deste trabalho é avaliar de que maneira os acontecimentos históricos, que marcaram a geração que viveu a experiência da Grande Guerra, fornecem subsídios para que compreendamos os rumos das vanguardas italianas e o modo como a formalização estética de seus ideais transformou a Itália do início do século XX em um laboratório político
Abstract: This doctorate thesis, the investigation object of which is Carta del Carnaro, written by Gabriele D'Annunzio and Alceste De Ambris, aims at analyzing the utopian, literary and modernist aspects of the Fiuman Constitution. In light of the critical and historiographical fortune, the intention is to reflect which formal novelty this ambitious project shows in the modern political scenario. The problem shifts to the examination of the relationships between historical matter and literary form. After all, the Great War seems to reorient the formal surveys made by the Italian vanguards, from the moment in which the politics becomes the central theme. The ambition of this study is to assess how the historical events experienced by the generation that lived during the Great War serve as base so that we can understand the direction of the Italian vanguards and how the esthetic formalization of their ideals transformed the Italy of the early 20th Century into a political laboratory
Doutorado
Teoria e Critica Literaria
Doutora em Teoria e História Literária

Orientador: Fernando Augusto de Almeida Hashimoto
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente dissertação tem como principais objetivos: 1. descrever e discorrer sobre a transcrição de tangos brasileiros para marimba; e 2. realizar um estudo interpretativo sobre os mesmos. Para isto foram utilizadas as músicas Rayon d'Or (1892) e Garoto (1916), oriundas de diferentes épocas dentro da cronologia composicional de Ernesto Nazareth. O processo de transcrição e adaptação dessas duas obras é contextualizado com um breve histórico do desenvolvimento e da popularização da marimba, bem como se discute a importância do uso de transcrições nos primórdios da formação de seu repertório. Aliado à transcrição dos tangos se inclui um estudo interpretativo que aborda tanto a resolução de dificuldades técnicas como decisões interpretativas acerca de aspectos como o controle timbrístico, fraseado, escolha de baquetas, entre outros
Abstract: This work has as main goals: 1. describe and discuss transcriptions of traditional Brazilian Tangos for marimba; 2. to make an interpretative study on these pieces. It utilized two pieces, composed in different compositional periods of Ernesto Nazareth: Rayon D'or (1892) and Garoto (1916). The process of transcription and adaptation is contextualized with a brief history of the development and popularization of the marimba, and overview of the importance of the use of transcriptions in the early formation of its own repertoire. In addition to the transcriptions of these tangos is included an interpretive study which deals with both the resolution of technical difficulties and the interpretative decisions about aspects such as control of the timbre, phrasing, choice of sticking, among others
Mestrado
Praticas Interpretativas
Mestre em Música

D'Annunzio e Pirandello come uomini e come artisti si pongono agli antipodi della scena culturale del loro tempo, eppure e nel mito, inteso come categoria psichica oltre che artistica, che la loro antitetica opera trova un punto d'incontro. In questo studio si analizza, dunque, il mito nelle tre tragedie dannunziane in cui l'elemento mitico si manifesta nel modo piu palese (La citta morta, La figlia di Iorio e Fedra) e nella trilogia dei miti pirandelliana, summa e approdo finale di tutta la sua opera. Per entrambi la necessita di mito nasce dalla sofferta consapevolezza della crisi moderna: valori relativi, personalita atemporale scissa, e fuori nessun dello l'aspirazione alla totalita. sen so spazio di direzione. del mito e Nella ancora dimensione possibile La teoria junghiana degli archetipi dell'inconscio collettivo, di cui i miti sarebbero le manifestazioni culturali, si e rivelata un importante ausilio analitico che consente, tramite uno scavo in profondita oltre le scorze e le sovrastrutture culturali e storiche, di cogliere la sapiente orditura di immagini e motivi archetipici nelle opere, confermando l'idea dell'artista anche come uomo collettivo oltre che come individuo. In tale prospettiva il confronto tra le opere ha portato ad importanti conclusioni, che non solo chiariscono la loro opera di scrittori, ma anche la loro funzione all'interno della societa in cui sono vissuti e, per esteso, della nostra. Per entrambi recuperare il mito e ridargli una veste moderna, pur nei rispettivi distinti modi, significa essenzialmente cercare di superare il relativo, la frammentarieta e la mediocrita del mondo contemporaneo. Nel processo di recupero, tuttavia, il mito stesso viene modificato e, facendosi specchio della condizione psichica moderna, non solo ne interpreta le piu profonde istanze, ma giunge anche a precorrerne quelle future. La posizione centrale nelle opere dei due scrittori dell'inconscio, il grande rimosso dell'Io raziocinante moderno, emergente nella possente figura della Grande Madre primordiale, rivela la direzione della futura coscienza umana nella necessita di riaccedere alle fonti piu profonde della psiche da cui nasca l'incontro e la fusione degli opposti, inconscio e coscienza, l'elemento ctonio, fertile e generatore, e quello uranico, spirituale e trascendente.
D'Annunzio and Pirandello both as men and as artists can only be placed at the opposite ends of the cultural scene of their times. Yet, it is in myth that their antithetical works finally converge. This study, therefore, analyzes myth in three of D'Annunzio's tragedies where the mythical dimension is more apparent (The dead city, Iorio/s daughter and Fedra) and in the trilogy of myths by Pirandello, which brings his work to its ultimate expression. For both authors the need for myth is born of the painful awareness of modern man's crisis: relative values, a divided personality and no sense of direction. In the timeless and universal dimension of myth it is still possible to achieve totality. The Junghian theory of the archetypes of the collective unconscious, of which myths are cultural manifestations, has proved to be an analytical tool of great importance. By giving access to the deepest level of the texts beyond their cultural and historical layers, it brings to light the otherwise elusive meaning of archetypal images and motives, revealing the true nature of art to be not just the work of an individual but also of collective man. The works, different as they may be, when compared in this perspective have nevertheless yielded some important common conclusions, not only on D'Annunzio and Pirandello as writers but also on their role within the society they lived in and, by extension, our own. For both of them myth, even in a modern context, means essentially the overcoming of the fragmentation, the relativity and the mediocrity of contemporary life. However, in the process of recapturing this mythical dimension, myth itself is bound to be modified. Because it mirrors the modern psyche, it not only interprets its deepest present needs, but also points to its future ones. The central position occupied in their works by the subconscious, emerging from behind the powerful image of the primordial Great Mother, points the way to future psychological development and to the need to regain access to the deepest levels of the human psyche so that its opposing forces, subconscious and consciousness, can meet and be reconciled.
Classics & Modern European Languages
D. Litt. et Phil. (Italian)

Fürst Hermann von Pückler-Muskau (1785-1871) is a writer whose work enjoyed immense popularity in his lifetime. Today, however, he is largely forgotten or ignored. This thesis proposes the rehabilitation of Nickler in German literary history. His work, consisting mainly of travelogues, achieves a stylistic distinction comparable to that of Heinrich Heine, and depicts events, places and people with a political and social perception that shows him to have been far ahead of his time. Nickler has always been a controversial figure. Though seen by some of his contemporaries as one of Germany's most influential and eloquent liberal travelogue-writers, he was also denounced as a second-rate poet who pandered to the aristocracy. As far as it exists, modern Nickler scholarship grants his work its deserved position in the genre of travel literature, but does not fully recognize its importance as politically and socially committed writing. For most of his life Pückler was interested in social and political questions. During his travels in Great Britain (1826-1828), documented in the Briefe eines Verstorbenen, he was introduced to the English political system. Henceforth, he proclaimed the need for a German constitutional monarchy. While travelling in Ireland he witnessed the struggle of the Irish people and became a strong supporter of the Irish emancipation movement. In Germany, he came in close contact with the group of writers known as "Junges Deutschland." Their writings were outlawed by the authorities in 1835, because of their treatment of political issues ranging from freedom of the press, autonomy of the universities, and constitutional questions, to the need for greater social justice. When he raised these issues in Tutti Frutti (1834), Nickler narrowly escaped a ban on the publication of his works, for some reactionary circles considered him a liberal agitator. Indeed, both Nickler's early pieces and his later work, such as the travel narrative Süd Ostlicher Bildersaal(1840), depicting the Wittelsbacher reign in Greece and the author’s association with the autocratic King of the Greeks, Otto I, demonstrate liberal conviction and progressive political thinking. This thesis examines critically Nickler's writings about England, Ireland, Germany und Greece, traces the author’s attitudes towards historical circumstances and personages and argues for the importance of his work and for its location close to that of other "Young German" writers, such as Heine, Borne or Herwegh.

M. Tech. Drama
Sources on musical theatre training by experts Rocco Dal Vera, Joe Deer, Tracy Moore and Allison Bergman, give the impression that there is a lacuna in training when teaching acting skills for singing in musical theatre. This dissertation, in an attempt to fill this lacuna, constructs a strategy of engagement by using cognitive science, together with Stanislavsky's acting techniques and music theory to explain the process from text/sheet music (the 'digital' domain) to performance (the 'analogue' domain). In this dissertation the 'digital' is seen as a metaphor for bounded, specific and singular phenomena (such as a written word or music note), and the 'analogue' is seen as a metaphor for a continuous, undulating and unbroken line of an event. The aim of this dissertation was achieved by conducting a critical literature study on the subjects of second generation cognitive science, Stanislavsky's acting techniques, and music theory and analysis.