Relevant bibliographies by topics / 1846-1881 Criticism and interpretation

Academic literature on the topic '1846-1881 Criticism and interpretation'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "1846-1881 Criticism and interpretation"

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Savinov, Rodion V. "Reception of Kantianism in Neo-Scholastic Theory of Knowledge:Jaume Balmes’ Doctrine." Voprosy Filosofii, no. 1 (2020): 172–80. http://dx.doi.org/10.21146/0042-8744-2021-1-172-180.

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The Article is devoted to the Representative of the Early Neo-Scholasticism, Span­ish Thinker Jaume Balmes. The Focus of Attention is the Interpretation of the Kan­tian Doctrine of Knowledge, which Balmes proposed in the Fourth Book of his “Filosofia Fundamental”(1846). It is shown that contrary to the generally negative attitude towards Kant and the Philosophy of Criticism that prevailed by the 1830s in Catholic Intellectual Culture, Balmes not only seriously studies and evaluates the Results of Kantian Criticism, but also he finds many points of contact between Criticism and Scholasticism, for which he undertakes a large-scale rewriting of the Kantian Theory of Knowledge in Terms of Scholasticism. At the same time, he of­fers Criticism of Kantian philosophy based on the Resources of the Scholastic Tra­dition, which allows integrating the Transcendental Analysis of Cognition devel­oped by Kant into the Methods of Scholastic Philosophy. Balmes sought to restore the Possibility of Metaphysical Knowledge, as a Result of which he excluded a number of Important Points of the Kantian Concept, he changed idea of a priori, setting the Boundaries of Sensuality and Reason, to a moving and dynamic “Agent Intellect” (entendimento agente), and Balmes replaced a transcendental subject by a “Universal Reason” (razón universal). In Conclusion, it is shown that Balmes’ Interpretation had a profound Influence on the Development of Understanding of Kantian Philosophy in Neo-Scholasticism and Neo-Thomism.
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Savinov, Rodion V. "Reception of Kantianism in Neo-Scholastic Theory of Knowledge:Jaume Balmes’ Doctrine." Voprosy Filosofii, no. 1 (2020): 172–80. http://dx.doi.org/10.21146/0042-8744-2021-1-172-180.

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The Article is devoted to the Representative of the Early Neo-Scholasticism, Span­ish Thinker Jaume Balmes. The Focus of Attention is the Interpretation of the Kan­tian Doctrine of Knowledge, which Balmes proposed in the Fourth Book of his “Filosofia Fundamental”(1846). It is shown that contrary to the generally negative attitude towards Kant and the Philosophy of Criticism that prevailed by the 1830s in Catholic Intellectual Culture, Balmes not only seriously studies and evaluates the Results of Kantian Criticism, but also he finds many points of contact between Criticism and Scholasticism, for which he undertakes a large-scale rewriting of the Kantian Theory of Knowledge in Terms of Scholasticism. At the same time, he of­fers Criticism of Kantian philosophy based on the Resources of the Scholastic Tra­dition, which allows integrating the Transcendental Analysis of Cognition devel­oped by Kant into the Methods of Scholastic Philosophy. Balmes sought to restore the Possibility of Metaphysical Knowledge, as a Result of which he excluded a number of Important Points of the Kantian Concept, he changed idea of a priori, setting the Boundaries of Sensuality and Reason, to a moving and dynamic “Agent Intellect” (entendimento agente), and Balmes replaced a transcendental subject by a “Universal Reason” (razón universal). In Conclusion, it is shown that Balmes’ Interpretation had a profound Influence on the Development of Understanding of Kantian Philosophy in Neo-Scholasticism and Neo-Thomism.
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3

Borisova, V. V. "Grattez le russe, et vous verrez le tartare: Perversion of French Saying in Oeuvre of F.M. Dostoevsky." Solov’evskie issledovaniya, no. 4 (December 28, 2022): 92–102. http://dx.doi.org/10.17588/2076-9210.2022.4.092-102.

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The article considers the famous saying Grattez le russe, et vous verrez le tartare (Scratch a Russian and you’ll find a Tatar) taken from A Writer's Diary and The Raw Youth by F.M. Dostoevsky. The interpretation of the cultural and historical meaning of this French saying is given, associated with the tradition of identifying Russians with barbarians, “Asians”, which is confirmed by the punning and ironic roll call of homophones barbare and tartare. The major contribution into transformation of this stereotypical belief about the nation was made by Dostoevsky in the relevant journalistic and artistic texts of 1870s. He had experienced staying in the Siberian Asia and would speak to kazakh scientist Chokan Valikhanov and other Russian orientalists. The writer used to have a Europe-centric perspective of Russia. However, he gradually transformed and started from sharp criticism of the Eurocentric view of Russia to adopt a positive interpretation of the “Asian” origins (existing along with the European ones) in the Russians’ nature. Eventually Dostoevsky shaped a trinitary Eurasian formula that he used to define the national and cultural essence of Russia. The essence includes not only Russian and European origins, but also the third origin which is Asian and no less substantial. This idea was fully explained by A Writer's Diary’s author in his late days in 1881: “Europe <…> is the mother of Russia just like Asia is”.
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4

Mehring, Franz. "On Hauptmann's ‘The Weavers’ (1893)." New Theatre Quarterly 11, no. 42 (May 1995): 184–89. http://dx.doi.org/10.1017/s0266464x00001202.

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Born in 1846, Franz Mehring as a young man was a follower of Ferdinand Lassalle, who in 1863 had organized Germany's first socialist party. As well as establishing a reputation as a journalist with his contributions to many liberal and democratic newspapers, Mehring was awarded his doctorate at Leipzig University in 1881 for his dissertation on the history and teachings of German social democracy. In his mid-forties he embraced Marxism and in 1891 joined the German Social Democratic Party, soon emerging as the intellectual leader of its left wing. He became editor of the Leipziger Volkszeitung and wrote prolifically for Die Neue Zeit and other radical journals on history, politics, philosophy, and literature. His book The Lessing Legend, published in 1893, is regarded as the first sustained attempt at Marxist literary criticism. His major biography of Karl Marx appeared in 1918, the year before his death. Completed in 1891, The Weavers was accepted for performance by the Deutsches Theater but was rejected by the Berlin censor as ‘a portrayal which specifically instils class hatred’. The first production of the play, discussed by Mehring below, was possible only because the Freie Bühne was a subscription society. In October 1893 a further private performance was given at the Neue Freie Volksbühne, followed by seven more in December at the Freie Volksbühne, where Franz Mehring was chairman. By now, the Prussian State censor had overruled his Berlin subordinate and The Weavers received its public premiere at the Deutsches Theater on 25 September 1894. On each occasion Hauptmann's play was greeted with great enthusiasm by the public, but found no favour with the Imperial family who indignantly cancelled their regular box at the Deutsches Theater. Subsequently The Weavers was banned from public performance in France, Austria, Italy, and Russia. Mehring's article appeared originally in Die Neue Zeit, XI, No. I (1893). Its translation in NTQ forms part of an occasional series on early Marxist dramatic criticism, which already includes Trotsky on Wedekind (NTQ28) and Lunacharsky on Ibsen (NTQ39). EDWARD BRAUN
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Dissertations / Theses on the topic "1846-1881 Criticism and interpretation"

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Loisel, Robert. "Figurines, suivi d'une, Etude de personnages." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30184.

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The first part of this master's thesis in French Literature is as a short story collection. Inspired by people's social and family situations, these short stories try to render the conflict that structures these situations and gives life to characters. In general, this conflict always takes place between real and imaginary worlds.
The second part of this thesis is an analysis of two Stefan Zweig short stories. In my analysis, I try to determine at which moment a character passes from being simply a character on paper to a "living" character. Thereby, I hope to disprove Florence Goyet's theory that a short story character is merely subjugated to a structure. I use the theory of reception, as Vincent Jouve used it to study novels.
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Horst, Stephen Scott. "Dostoevsky as apologist." Thesis, University of Wales Trinity Saint David, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683031.

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Emmerson, Stephen B. "Programmatic and symbolic references in some early works of Bartók." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670332.

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Zhang, Zhaoyi. "Lu Xun : the Chinese "Gentle" Nietzsche = Lu Xun : Zhongguo "wen he" de Nicai." Frankfurt ; New York : Peter Lang, 2001. http://www.loc.gov/catdir/toc/fy02/2001038644.html.

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Berry, Robert James. "Conrad and Dostoevsky : an unsuspected brotherhood." Thesis, University of Stirling, 1993. http://hdl.handle.net/1893/2015.

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This thesis attempts a comparative study of Conrad and Dostoevsky. In doing so, it proposes a significant relationship between the ideological, political and literary worlds of both authors. The work is undertaken in eight chapters. Chapter One explores Conrad and Dostoevsky's respective national and cultural identities. It reflects on Conrad's recorded reactions to Dostoevsky and his work, and speculates on the latter's likely response to Conrad. Chapter Two challenges established critical formulae that suggest Dostoevsky is a purely 'Dionysian' writer. The view that Conrad is a consummate 'Apollonian' artist is similarly brought into question. Chapter Three considers Conrad and Dostoevsky as major literary innovators. To support my argument, Bakhtin's critical concepts of 'polyphony' and 'monology' are introduced, and applied in a Dostoevskyan and Conradian context. Especially highlighted is my debate on Conrad's 'polyphonic' narrative technique in Lord Jim (1900). The notable fusion of disparate literary genres in Conrad and Dostoevsky's novels is explored in Chapter Four. Elements of 'adventure', 'thriller', 'romance', and 'detective' fiction are identified in each novelist's world. My argument, however, restricts itself to an extensive analysis of the surprising importance of the 'Gothic' elements in both writers' worlds. Chapters Five and Six, concentrate on Conrad and Dostoevsky's profound insights into the fundamental character of the human personality. Chapter Five considers their parallel interpretations of mankind's quintessentially materialist nature. Chapter Six looks at their strikingly similar visions of man's violent and carnal identity, and his primary urge to dominate other weaker individuals. Chapters Seven and Eight consider two central themes in Conrad and Dostoevsky's fiction, that of anarchist politics and nihilism respectively. Their political and ideological responses to these issues are investigated in some detail, and significant interpretive parallels established. Finally, the conclusion undertakes to once again assure the reader of the surprising and unsuspected bonds that exist between these two seemingly alien writers.
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Panyaniti, Rawin. "Bartók as ethnomusicologist and composer: folk music and art music influences on his musical language." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31223278.

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Yaffe, Phyllis Cohen 1948. "The 'artist and model' theme in Picasso's work between 1926 and 1963 /." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74042.

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Montano, Rodríguez Rafael. "De raza a cultura : un acercamiento crítico al concepto de mestizaje y mexicanidad en Vasconcelos, Ramos, Paz y Fuentes." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68123.

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The present thesis studies the concepts of mestizaje and Mexican identity in five essays and two short stories: La raza cosmica and Indologia, by Jose Vasconcelos; El perfil del hombre y la cultura en Mexico, by Samuel Ramos; El laberinto de la soledad and Posdata, by Octavio Paz; and finally the short stories "Chac Mool" and "Por boca de los dioses", by Carlos Fuentes. The thesis shows how the confrontation between the European and the Pre-Columbian cultures, still very much a part of the Mexican reality, affects the intellectual efforts by which those authors try to grasp the problematic of mestizaje and Mexican cultural identity. The perspectives of those four authors, from the racial and optimistic vision of Vasconcelos to the psychoanalytical and rather bleaker approach of Paz, are unable to give an objective account of mestizaje and Mexican identity, precisely because of the confrontation, never settled, between the two cultural universes.
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Cheng, Maorong. "Literary modernity : Studies in Lu Xun and Shen Congwen." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0018/NQ46330.pdf.

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車明星. "魯迅小說中的 人 : 吶喊 、 彷徨 初探 = The Being in Lu Xun's shortstory." Thesis, University of Macau, 2005. http://umaclib3.umac.mo/record=b1636171.

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Books on the topic "1846-1881 Criticism and interpretation"

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Fiorentino, Emmanuel. Giuseppe Calì: 1846-1930. Valletta, Malta: Said International, 1991.

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Kovtun, E. F. Mikhail Larionov: 1881-1964. Sankt-Peterburg: Avrora, 1998.

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1881-1973, Picasso Pablo, Piot Christine, and Bernadac Marie-Laure, eds. Picasso total, 1881-1973. Barcelona: Ediciones Polígrafa, 2000.

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David Shterenberg, 1881-1948. Moskva: ART-Rodnik, 2006.

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Léal, Brigitte. Pablo Picasso (1881-1973). [Paris]: Centre Pompidou, 2011.

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Hüther, Julius. Julius Hüther, 1881-1954. München: R. Höcherl, 1989.

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Carl, Schuch, Boehm Gottfried, Dorn Roland, Morat Franz A, Städtische Kunsthalle Mannheim, and Städtische Galerie im Lenbachhaus, eds. Carl Schuch 1846-1903. Mannheim: Städtische Kunsthalle Mannheim, 1986.

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1881-1970, Mokry Mészáros Dezső, ed. Mokry Mészáros Dezső, 1881-1970. Miskolc: Herman Ottó Múzeum, 1985.

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Mikhail Larionov 1881-1964: Alʹbom. Sankt Peterburg: Avrora, 1998.

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Carrà, Carlo. Carlo Carrà: 1881-1966. Milano: Electa, 1994.

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Book chapters on the topic "1846-1881 Criticism and interpretation"

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Johnstone, William. "Biblical Criticism in the Nineteenth Century." In The History of Scottish Theology, Volume II, 342–58. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198759348.003.0024.

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Against the background of the Enlightenment and the weakening of the restrictions imposed by the Westminster Confession, this chapter seeks to trace the development of biblical interpretation in Scotland in the nineteenth century, in terms of the evolution of ‘lower criticism’ focusing on philological and textual evidence and of ‘higher criticism’ aiming to identify the social and historical contexts within which the biblical writers operated. The chapter begins with the pioneering work of Alexander Geddes (1737–1802) and considers Scottish participation in the culmination of ‘lower criticism’ in the production of the Revised Version (1870–95) and of ‘higher criticism’ in the work especially of William Robertson Smith (1846–94).
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Goldhill, Simon. "The Touch of Sappho." In Victorian Culture and Classical Antiquity. Princeton University Press, 2011. http://dx.doi.org/10.23943/princeton/9780691149844.003.0003.

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This chapter examines one of the paintings of Lawrence Alma-Tadema, which concerns the space of desire—a Greek scene, the gap between a man and a woman, the touch of a girl and a woman—and how this space is traversed by critics and viewers, then and now. The painting in question is Sappho, now usually called Sappho and Alcaeus, that was exhibited in the Royal Academy by Alma-Tadema in 1881. The chapter considers the shifting recognition of desire in readers' receptions of a Victorian image of the classical past—and the interpretative lures and snags of such an enquiry. It demonstrates how desire speaks and silences its name in art by analyzing not only the image of a poet from antiquity, but also the most famous female poet of ancient Greece, Sappho, whose name has become synonymous with the expression of female desire.
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