Academic literature on the topic '1843-1916 Criticism and interpretation'

This study aims to explain the movements, relationships and roles of Benih Mardeka newspaper in the political movement in East Sumatra from the period 1916 to 1923. Political movements took place as a result of rapid developments in the early 20th century in East Sumatra into a prosperous plantation area. The movements were carried by organisations delivered through propaganda tools or media, namely newspapers. One of the newspapers that loudly voiced national movement and nationalism in East Sumatra was Benih Mardeka newspaper, which began to appear in 1916. This study uses historical methods that include heuristic, source criticism, interpretation and historiography. The results showed that many articles in Benih Mardeka frequently criticised the issues of colonialism and capitalism. Meanwhile, the poor life of plantation workers became propaganda material for Benih Mardeka in criticising colonial and self-government as well as capitalists, namely plantation companies. Benih Mardeka was also a mouthpiece or tool for Sarekat Islam in conveying the idea of nation and nationalism. Hence, it can be concluded that Benih Mardeka consistently gave the voice of national movement and nationalism in the political movement and the press in East Sumatra.

Korney Chukovsky is a neglected figure in the story of the British reception of Russian literature. This essay attempts to recover his place in the complex networks of translation, criticism, and interpretation in the twentieth century by examining his three visits to Britain (1903-4, 1916, and 1962), his activities as an intermediary for British writers in Russia, and the British dissemination of his literary criticism.In his alternate guises as indigent newspaper correspondent, feted member of a wartime delegation, and recipient of an Oxford honorary doctorate, Chukovsky came to be both a key contributor to and a keen observer of British perceptions of Russian literature.

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.

Among the various theoretical insights which seek to explain the emergence (and, for our purposes, the amendment) of ‘social’ legislation, the interpretation advanced by Oliver MacDonagh to explain nineteenth century governmental developments is widely known. This approach, which ascribes legal changes to the ‘pressure of events’, is built upon a five-stage model, progressing from the ‘discovery’ of an ‘evil’, to its administrative solution by means of legislative enactment. MacDonagh's formulation attracted, in turn, the criticism of those students of nineteenth century government growth, who pointed to the influence of Benthamite ideas as the forcing-house of change. Latterly, John Goldthorpe has sought to place emphasis on the role of social movements in galvanising legal reforms, suggesting how different interest groups might vie with one another in a pluralistic struggle for success.

The aim of the paper is to extract texts that point to the influence of Mažuranić’s work in shaping of Matoš’s prose. There will be interpretations of the novels in which Matoš creates characters according to Fran Mažuranić: Pereci, friški pereci..., Put u Ništa, Bura u tišini, in the context of Matoš’s contribution to the return of this writer to the mainstream of Croatian literature after a long silence. Some characters will be analyzed: Orlović and Marjanović in Putu u Ništa where Matoš in portraying the figures highlights the significance of Mažuranić’s work in Croatian literature, especially the influence on the prose in Croatian modernity, later emphasized by Croatian literary critics after the second edition of Lišće (Lišće i druga djela,, 1916). In this context, the criticisms and texts which used Matoš’s novels for the reconstruction of Mažuranić’s life (Wenzelides and Benešić et al.) will be highlighted. On the other hand, some motivational incentives of Mažuranić - Matoš will be emphasized (eg. the dream motif in Mažuranić’s novel I o grm i o trn in the first Matoš’s publishing of Moć savjesti, and the elaboration of the theme of “old maid” in Mažuranić and Matoš’s feuilleton Usiđelica and others).

Gumersindo de Azcárate (León, 1840— Madrid, 1917) fue uno de los más influyentes catedráticos de derecho y políticos de la España contemporánea. Fue un miembro activo del denominado movimiento krausista que desempeñó un importante papel en la cultura y política española tras la revolución de 1868. Desde diferentes revistas y desde la propia Universidad defendió los principios liberales y democráticos que conducían al establecimiento de su ideal: Estado de derecho. En ese contexto apoyó la nueva constitución de 1869, que Azcárate considerará siempre un referente y el mejor código fundamental de la España moderna. Con la Restauración en 1874 de la Monarquía inspirada en el doctrinarismo francés Azcárate se mostró muy crítico y propuso dirigir la mirada hacia la constitución de Inglaterra como el modelo jurídico-político a tener en cuenta. A su juicio el sistema constitucional inglés se articulaba en torno al principio del self-goverment o soberanía de la sociedad a partir del cual se construía un régimen parlamentario democrático con una administración descentralizada, un poder judicial independiente y una opinión pública que actuaba a la vez como fuente, guía y límite de los distintos poderes del Estado. Entre 1886 y 1916 Azcárate fue Diputado en el Congreso de los Diputados por el partido republicano y se implicó activamente, como presidente del Instituto de Reformas Sociales (1903), en la mejora de las condiciones de vida las clases obreras.Gumersindo de Azcárate (León, 1840— Madrid, 1917) was one the most influential Law professor and politician in Contemporary Spain. He was an active member of the so-call krausist movement that played a major role in Spanish culture and politics after the revolution of 1868. From both, journals and University he defended the liberal and democratic principles that lead to his ideal: a rule of law. In that context he supported the new constitution of 1869, regarded by Azcárate for the rest of his life as the best one in Spanish modern history. When the Restoration took place in 1874 and a constitutional Monarchy inspired in French doctinaires’ political theory was set up, Azcárate criticised it proposing to look over the Constitution of England as a model. According to his interpretation of English constitutional system, the principle of self-government or the sovereignty of society was the key principle for building a true democratic parliamentary government based on the free association of individuals, a decentralized administration, an independent judicial power and public opinion as the very source, guide and limit of all the powers of the State. From 1886 up to 1916 Azcárate became Member of the Parliament as representative of the republican party and was actively involve in the Intitute for Social Reforms (1903) that tried to improve the condition of the working classes.

Background. Recently, specialists in drama studies have displayed growing interest to the problems of historiography concerning theaters. One of its most urgent tasks is to reveal just how much the scientific approach is applied to creating a historical paper. This goes hand in glove with studies into sociopolitical and scientific worldview of authors of the researches, the sources used, the interpretation of facts as well as the style of material’s presentation. Objectives, methods and materials of the research. The purpose of this study is to outline the circle of the most important sources, which contain the data on the history of theater in Kharkiv; to characterize their authors; to define the degree of their mastering of accessible information while writing books and articles on various periods in the development of theater culture in this city in the 19th c.; to establish the main challenges to researchers they have to face under modern conditions. In this study, the author has chosen to apply the traditional cultural-historic method of research. It generally consists of collecting primary information on a certain phenomenon or a prominent figure, working it out, finding its correlation with appropriate historic events, and then making an attempt to substantiate the meaning and importance of the phenomenon / figure studied, in the context of the development of arts in the region. The article based on memoirs, archive materials, periodic publications (containing articles on the activities of theater companies, theatrical managers, actors etc.) and literature on the history of drama as well as general publications, which include items on the theater life in the city. Due to the lack of an entire elaborated bibliographic system, researchers have to engage themselves in painstaking browsing through the entire corpus of periodicals. In Kharkiv, the main sources of relevant information are such periodicals as the “Ukrainskiy vestnik” magazine (1816–1819) and some newspapers: “Kharkovskie gubernskie vedomosti” (1838–1915), “Yuzhnyy kray” (1880–1919), “Utro” (1906–1916), Kharkov (1877–1880), Kharkovskiy listok (1898–1905) and more. Results. The former newspaper “Kharkovskie gubernskie vedomosti” published, in 1841, the essay “Theater in Kharkov” by dramatist and a prominent public figure Hryhoriy Kvitka-Osnov’yanenko (1778–1843), who described the very first period in the history of theater in Kharkiv (1780–1816). In the 1870s, the “Kharkovskie gubernskie vedomosti” started to publish regularly analytical and summarizing articles, which were an attempt at creating theater’s history of a certain period. There was, for one, an article “The Kharkov Drama Theater in Recent Ten Years” by Ivan Ustinov, published in 1877 and dedicated to the 10th anniversary of the Diukovs’ private theater company. I. Ustinov not only gave a brief analysis of the theater’s repertoire between 1867 and 1877, but also included biographies and short characteristics of the actors, which were playing then on Kharkiv stage. Ustinov also is famous as the compiler of the bibliographic index “The Books on Kharkov Governorate” (1886), with certain information on the history of theater in this city. In the 1880s, Konstantin Schelkov, a graduate of the Kharkiv University’s Law School, wrote his articles on the theater in the “Kharkovskie gubernskie vedomosti”. The newspaper published, among others, his article “Materials for the History of Theater in Kharkiv” (1881), in which he described the activities of the theater’s management headed by N. D. Alferaki in 1845–1848. In the early 1880s, another big newspaper, the “Yuzhnyy kray”, was started. Its columnist Nikolay Chernyaev took a great interest in the history of theater in Kharkiv. Mr. Chernyaev’s works include a systematic review of theater culture in Kharkiv from Catherine II epoch until 1843 as well as a number of essays on the development of theater in Kharkiv up to 1880. The author collected wide documentary material dedicated to specific periods of history as well as to certain artistic figures. Chernyaev studied many various sources: dailies and magazines, published in the capital cities and in provinces, many collections of documents, memoirs and so on. Chernyaev’s works proved to be useful to historians D. I. Bagalei and D. P. Miller who covered the history of theater in their famous book “The History of the City of Kharkov during 250 Years of its Existence.” In the first half of the 20th c., there were no integral and systematic researches on the history of the city of the previous century, so the monograph “The Beginnings of the Theater in Kharkov” by Arkadiy Pletniov, published in 1960, one can consider as summarizing. The author based much of his study on the works of N. I. Chernyaev. He also widely used the materials resting in the A. A. Bakhrushin Museum of Theater, Moscow, and in many archives. In his monograph, Dr. Pletniov did not limit himself with listing the events of theatrical life, but thoroughly analyzed the activities of the Board of Trustees and such managers as I. Shtein and L. Mlotkovskiy. In several supplements, one can find lists of main roles played on Kharkiv stage by its prominent actors (N. Rybakov, L. Mlotkovskiy, K. Solenik). Pletniov’s work, enriched by references and commentaries, played an important part in creating the complex picture of Kharkov’s theatrical life. Due to abundance of the facts and clear style, Dr. Pletniov’s book stays up to now a valuable source on the subject. Conclusions. The analysis of historiography concerning the theater in Kharkiv of the 19th and early 20th cc. enables the author to come to conclusion that the main challenges a modern researcher has to face are as follows: the absence of system in bibliographic manuals; lacunas in the funds of periodicals of most libraries; the absence of important documents in archives. Theater life in Kharkiv has been studied far from satisfactory level yet. The following problems of history especially need thorough research work from historical point of view: theater critique; drama art; architecture of theater buildings in Kharkiv; amateur theater companies; charity for theaters; and some other points. The task of modern researchers, as we see it, lies in gradual filling the gaps mentioned above.

The purpose of this study was to describe the political activities of an Islamic organization, namely Sarekat Islam in 1916-1921. The Union of Islamic Organizations (SI) started from the Sarekat Dagang Islam (SDI) which was transformed into the Sarekat Islam with the aim of expanding its reach which was not only limited to traders. SI turned into an association that encouraged the socio-political struggle of the people at the beginning of the twentieth century. The method used in this study is the Historical Method, namely heuristic steps, source criticism, data interpretation and historiography. The results of the study are the political progress of the Islamic organization, namely Sarekat Islam in 1916-1921 through national congresses in several regions by bringing up socio-political problems, which culminated in 1921 with the split of Sarekat Islam itself with two streams, namely Sarekat Islam Merah with socialist principles - communists led by Semaun and Sarekat Islam Putih based on nationality and religion led by Tjokroaminoto.

This research was intended to examine the impact of education on social mobility in North Bali during the Dutch colonialism era in the early twentieth century. The method used for this research was heuristics, source criticism, interpretation, and historiography, assisted by social science as an analytical tool. The research findings revealed that the colonial era education system in North Bali consisted of two groups, namely primary and secondary education up to the junior high school level as it is today. Europeesche Lagere School (ELS) in Singaraja was built in 1916, while Hollandsch Inlandsche School (HIS) first opened in 1918 in Singaraja, then in Denpasar, followed by Klungkung and Karangasem.The Netherlands also established a Volks School in villages. The development of education and facilities and infrastructure was quite good at that time as evidenced by the number of existing schools totaling 142. The existence of this educational institution provided opportunities for many groups of aristocrats and ordinary people (jaba) to obtain an education. This condition had an impact on the change in the social structure of the Balinese from feudal to modern, where the jaba experienced vertical social mobility. This in turn resulted in competition among aristocrats and jaba, resulting in various organizations such as Surya Kanta and Bali Adnyana. The Surya Kanta organization, which was founded by the jaba, carried out a social movement by demanding equality in society, eliminating ajawera, adapting custom to the times, eliminating asupundung and alangkahi karanghulu, and returning the caste system to religious principles.Penelitian ini dimaksudkan untuk mengkaji dampak pendidikan terhadap mobilitas sosial di Bali Utara pada masa penjajahan Belanda di awal abad ke-20. Metode yang digunakan dalam penelitian ini adalah heuristik, kritik sumber, interpretasi, dan historiografi dengan bantuan ilmu sosial sebagai alat analisis. Hasil penelitian mengungkapkan bahwa sistem pendidikan zaman kolonial di Bali Utara terdiri dari dua golongan, yaitu pendidikan dasar dan menengah sampai dengan tingkat sekolah menengah pertama seperti sekarang ini. Europeesche Lagere School (ELS) di Singaraja dibangun pada tahun 1916, sedangkan Hollandsch Inlandsche School (HIS) pertama kali dibuka pada tahun 1918 di Singaraja, kemudian di Denpasar, disusul oleh Klungkung dan Karangasem. Belanda juga mendirikan Volks School di desa-desa. Perkembangan pendidikan dan sarana prasarana saat itu cukup baik dibuktikan dengan jumlah sekolah yang ada berjumlah 142. Keberadaan lembaga pendidikan ini memberikan peluang bagi banyak golongan bangsawan dan masyarakat biasa (jaba) untuk mengenyam pendidikan. Kondisi ini berdampak pada perubahan struktur sosial masyarakat Bali dari feodal ke modern, dimana jaba mengalami mobilitas sosial vertikal. Hal ini pada gilirannya mengakibatkan persaingan antara bangsawan dan jaba, sehingga muncul berbagai organisasi seperti Surya Kanta dan Bali Adnyana. Organisasi Surya Kanta yang didirikan oleh para jaba melakukan gerakan sosial dengan menuntut kesetaraan dalam masyarakat, menghilangkan ajawera, menyesuaikan adat dengan perkembangan zaman, menghilangkan asupundung dan alangkahi karanghulu, dan mengembalikan sistem kasta pada prinsip-prinsip agama.

John Dewey’s book, Democracy and Education, published in 1916, was considered a millstone of democratic education. This article was aimed at tracing and identifying variants of interpretations among Deweyan. This article is a literature review. There are at least eight perceptions relating to Dewey’s writing on Democratic education. There are elitist, liberal, neoliberal, deliberative, multiculturalist, participative, critical, and agonistic. Each of them has a different conception, implication, suggestion, and criticism as well as debate relating to Dewey’s writing. In this article, however, just elaborates on two of them, namely liberalist and neoliberalist. Teaching Democracy has the benefit of that multi-interpretations. It is suggested that the teacher select and modify various suggestions offered by scholars of democratic education in accordance with circumstances or contextual factors in teaching democracy.

James's belief that "it is art that makes life" is essential to his own literary technique and to the reading experience within and in relation to his novels. The thesis seeks to posit the notion of reading as a fundamental concern in Henry James's fiction. Drawing largely on the phenomenological and anthropological approaches to the reading process of Wolfgang Iser, this thesis examines the Jamesian text as a performative event involving author, reader and character in creative and interpretative narrational struggles. Iser uses "play" as an integral term to describe the dynamic between author-reader-text which produces a literary work of art. In James's fiction the doubling of the author/reader and reader/character role within the text crucially structures a narrative form which is itself an inquiry into the human use of fiction. The Iserian conception of the act of reading as an engagement with the "gaps" within the play-space of the literary text can elucidate James's structural and thematic use of such sites of indeterminacy to foreground the enlivening necessity of an indeterminate "felt life" within human narrative structures. What Maisie Knew highlights the most important rule in the game -- the necessity for the reader to create meaning from the indeterminate aspects of the text. The shared exercise for author-reader-character is the attempt to access the child's unformulated inner reality to ascertain what Maisie knows. In the section on The Portrait of a Lady Iser's notion of reading as an ideational activity aids an inquiry into the human use of mental fictive picturing to compose reality. The Ambassadors demonstrates the "anthropological" need for the particular mode of consciousness brought about by the literary text when we engage in a world as real as but different to our own. Strether is the reader's ambassador in this world and his interpretative activity mirrors the reader's quest. In The Golden Bowl the bewildering multiplicity of readings made possible by the indeterminate aspects of the literary text instigates a contest for narrative forms in which the chosen fictions of the readers/characters must be actively willed into existence.

This thesis examines the structures guiding and informing reading intrinsic to James's "late" style. It seeks to explore James's analogy between reading as an ethical activity and his own and his characters' acts of storytelling. It looks first at the necessities of reading as they are presented through the character of Isabel Archer in The Portrait of a Lady, to find that reading for James is itself a form of storytelling. James's concept of "revision," which replaces the concept of "re-writing," unites the activities of reading and storytelling because both activities, to be free, must be guided by the contingencies of experience. James's emphasis on the determinations of experience, which yields changing apprehensions of the same material, at once makes reading a test of the reader's resources in dealing with unexpected and complex situations, and storytelling an act of improvisation if it is to be faithful to the demands of its subject. The second half of the thesis examines Maggie Verver's command of storytelling in The Golden Bowl. It finds that ethical storytellers must have the same faith in their subject matter as ethical readers must have in the texts they engage. Finally, the thesis unites the study of reading with storytelling by examining the ways in which stories are exemplary performances whose the most significant subject is the audience. It is the forms of judgement that a work of art elicits which are essential to establishing alternative conceptions of the good and new modes of valuation in a community.

The phenomenon of inner-biblical interpretation and inter-textual replication of scriptural material within the Old Testament is receiving significant attention in current scholarship. Two narratives which are repeated three times in the Hebrew Bible provide a particularly fruitful case study for this type of research: the Hezekiah narrative (2 Kgs 18-20; Isa 36-39; 2 Chr 29-32) and the account of the fall of Judah (2 Kgs 24-25; Jer 52; 2 Chr 36). This study extends the contributions of redaction-critical, literary-critical, and text-critical studies examining the narratives of 2 Kings 18-20//Isaiah 36-39 and 2 Kings 24:18-25:30//Jeremiah 52 and emphasizes their subsequent reception in Chronicles. In addition, this investigation advances the discussion of the Chronicler's reliance upon and method of incorporating material from the Latter Prophets. It is the conclusion of this thesis that the Chronicler was familiar with the versions of the Hezekiah narrative and the account of the fall of Judah in both 2 Kings and the Latter Prophets. His method of handling these alternative accounts reflects both direct quotation (particularly in the case of 2 Kings) and indirect allusion to themes and idioms (with regard to the Latter Prophets). The result is a re-telling of Judah's history which is infused with hope for restoration as articulated by the Latter Prophets. By portraying an idealized account of Israel's past history which corresponds to prophetic descriptions of the nation's restoration, Chronicles illustrates the accessible, utopic potential held out to every generation of faithful Israel.

Real Benoit (1916-1972), a native of Sainte-Therese-de-Blainville, studied at Sainte-Therese Seminary and at Sainte-Croix College. His early career in journalism involved writing for "Le Soleil", "Le Petit Journal", "La Presse", "Horizons", "Le Jour" and "Regards". In the latter publication his first fiction appeared. In 1945 his anthology of fiction, Nezon, was well-received by the critics. Later, Benoit became news editor and music programmer for Canadian Broadcasting Corporation. After a trip to Brazil, he founded Benoit- de Tonnancour Films, a concern which ended in 1959. In 1960, Benoit became supervisor of network films for Canadian Broadcasting Corporation. From then until his demise in 1972, Benoit, profoundly affected by his long-time companionship with Andree Lariviere and by his second marriage to Francine Laurendeau, became a prolific writer: he published Rhum soda (trip novel), Mes Voisins (short novel), Quelqu'un pour m'ecouter (novel which obtained in 1965 The Grand Prix de la Ville de Montreal), and the dramas Le Marin d'Athenes and La Nuit de la Saint-Theodore, adapted for television by Jean-Paul Fugere. The drama Le Chant des grenouilles apres la pluie was published posthumously in 1973 by La Cercle du livre de France. Benoit's work was coloured by numerous personal sorrows, not the least of which were the breakup of his first marriage to Marthe Lafontaine, and the accidental death of his first son.

The poetry of John Ciardi, a versatile and prolific man of letters, has not received adequate critical attention. Through an examination of his poetic canon, using traditional elements of poetry, this dissertation establishes his unique poetic voice. Attention is focused on his Selected Poems, but representative poems from his full canon are examined.Chapter One reviews critical writings relevant to establishing Ciardi's poetic voice, introduces texts to be examined, and sets forth criteria for analyzing his poetry.Chapter Two identifies Ciardi's poetics and places him as a poet in the realistic tradition. His poetics stress four elements essential to good poetry: rhythm, diction, imagery, and form (wholeness). Much of his analysis is orthodox; however, as subsequent chapters demonstrate, some analytical terms are used in a special sense by Ciardi.Chapter Three positions Ciardi as a personal poet, dependent on family experiences for his subjects and settings. Ciardi's poems tend to succeed when autobiography plays a large role. Chapter Six also considers the relationship of imagery to common themes.Chapters Four through Seven deal with techniques of poetry. Chapter Four on rhythm shows how Ciardi successfully creates a vernacular language by manipulating a basic iambic line by using metrical and non-metrical devices.Chapter Five analyzes how diction is affected by grammar, sound devices, and etymology. Effective diction is precise, appropriate, resonant, and authentic.Chapter Six categorizes frequently-used images into four groups: nature, family, war, and religion/art. This chapter demonstrates the close relationship between imagery and his persistent themes: depersonalization of twentieth-century people and salvation in interpersonal relationships and art. Ciardi's most successful poems use fresh images from "unimportant" experiences, from which humanistic values are derived.Chapter Seven addresses the wholeness of the poem, including the "sympathetic contract." The poems tend toward a formal ending, frequently following what Ciardi calls a "fulcrum." Ciardi's composite voice is rich with unexpected images, flowing in a rhythm reminiscent of iambic speech. Ciardi's vision is expressed in a unique poetic voice that deserves to be included in the canon of contemporary poetry.3
Department of English

在過去大多數文學史的論述中，王闓運由於摹擬漢魏六朝文學的復古主張而被視為是晚清保守派人物，其文學思想的價值意義及其背後的現實關懷都被輕易忽略，沒有得到足夠的重視。在學界逐漸承認古典文學與現代文學並非截然斷裂、古典文學更是現代文學在草創階段重要的借鑒資源時，對於王氏文學思想似乎也可以提出新的評價。通過對王闓運文學思想的剖析，可以發現，他的文學除了是與當時眾多文學話語的對話之外，還包含他的經學思想和現實關懷，在晚清文化轉型時期的大背景下，王氏看似復古守舊的取態，實際上在對文學與個人、文學與政治關係的思考上體現了一定的超越性，甚至可以與五四以後的現代文人達成相似的共識契合。全文共分六章。第一章為緒論，交代研究動機及思路。第二章在說明王闓運對駢散之爭的取態之外，同時探討其學術思想與文論之間的關聯，指出王氏通經自治的思想迥異於當時的致用思潮，同時也反映在他的文論之中。第三章以王氏的「文情說」為主線，探討他與鄧輔綸和袁枚的詩學對話，由此還原王氏文情說的建構過程及闡釋其內涵意義，說明王氏對創作的關注聚焦於如何處理文學藝術和個人情感的關係。第四章通過比較王氏與道咸宋詩派的詩學異同，由此說明王氏試圖將宋明理學的道德詩學排除在他的文學思想之外，視詩歌為個人陶冶性情的藝術。第五章由王氏在學術和文學思想上提出的「為己為人」之辨展開，由此了解其文學思想背後批評文學為政治服務、士人追求名利等現實關懷，而他在肯定文學的獨立價值，以及批評道德及政治文學的取態上與五四文人也有一定程度的契合。第六章為結論。Abstract Wang Kaiyun has been labeled as a 槍conservative" for his literary acclamation in most research of literary history. Therefore, his literary concern on the problems of society has not been attended much in the relevant studies. This dissertation focuses on the theme of Tradition and Modernity, uncovering his literary thought in the cultural transitional era on the one hand, and on the other, giving efforts to explain his transcendental consciousness over the relation between individuality and literature, literature and politics. In his literary dialogue with other literary contexts, his seemingly conservative acclamation is in fact thought-provoking for the contemporary as well as the following May-Fourth cultural movement. This dissertation consists of six chapters. The first chapter introduces research motive and methodology. The second chapter focuses the relation between Wang Kaiyun's literary theory and thoughts apart from his attitude toward the two literary types of prose and essay. The third chapter explores his poetic dialogue with Deng Fulun and Yuan Mei by tracing his Wen Qing Shuo(theory on the literary sentiments), in order to restore the process of theoretical formation as well as the connotation interpretation. The following chapter compares and contrasts Wang's poetic theory with the School of Song Poetry in Dao, and confirms his acclamation on the function of poetry as way of feeling expression. Wang Kaiyun rejects the authority of Song-Ming Confucianism in poetry, and insists that poetry be the art for cultivating human mind. Chapter five focuses on Wang's philosophical idea of Wei Ji versus Wei Ren(for self-versus for others), uncovering the value of his humanity concern for the following May-Fourth cultural movement. The last chapter is the concluding part.

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.

The objective of this thesis comes from a desire to ponder on the role played by Benito Perez Galdos' novels. As a prolific Spanish journalist, novelist and "historian," his work offers a deep insight into the second half of the nineteenth-century society for it depicts historical situations of that particular moment. Through the evolution of the author's artistic representation, we will assess the values he seeks to impart. Moreover, in conjunction with this artistic evolution, there is our perception of the various political changes and turmoils, that is, we shall try to understand these historial events, not so much in a rational manner, but rather according to the author's philosophical perception.

This study addresses the ideological properties of the two main modal strains in fictional representation of romance and realism in order to provide an antidote to the currently extremely negative view of the representational function of fiction. In the course of the discussion, three received positions in traditional literary criticism are challenged. Firstly, the view of literary form as ideology-free is undermined by demonstrating the ideological properties of the two modes. Secondly, the realism/romance binary opposition regarding the mode of fictional representation is critiqued by both uncovering the misconception of the former's competence for transparent representation and evincing the two modes' ideologically interactive relation. Lastly, the categorization of Henry James as an aesthete is problematized by historicizing and socializing his three texts.