Academic literature on the topic '1873-1939 Criticism and interpretation'

The article discusses outstanding interpretations of the works by F. Nietzsche as represented in Polish educational thought during the “Young Poland” period and the following interwar period. The study aims at elucidating the pedagogical dimensions of Nietsche’s idea in the interpretation of the two periods and at identifying the space within which the concept of the author of Thus spake Zarathustra still remains topical and current. The section devoted to the “Young Poland” period includes an analysis of Jan Kurnatowski’s book Nietsche. Studia i tłumaczenia [Nietzsche. Studies and translations], the one and only work of the period that extracts from the output of the German thinker its strictly pedagogical reflections. The next issue to be presented is a discussion on the journalistic writing that was engaged inNietzschean themes that would be of interest to the present-day pedagogy of culture. Interpretation trends that aimed to discover a universal remedy for the crisis in culture and humanity in the works of the author of Untimely Meditations turned out to be dominant at the time. An approach to the interpretation of Nietzsche’s thought in a wide context of social and cultural interactions made it possible to conclude that the category of Bildungsphilister, castigated by the philosopher, reaches much further beyond just criticism of the contemporary model of education due to the tenability of the notion of Bildumg as the accumulation of cultural capital as it was viewed by Pierre Bourideu. In conclusion of the discussion on the modernist period, the author presents postulations that indicate a need for a shift in the reception emphasis towards directions hitherto unexplored. The section devoted to the interwar period presents the interpretation of the pedagogical thought of Nietzsche presented at the inauguration lecture (on the occasion of Antoni Bolesław Dobrowolski’s acceptance of the chair of pedagogy at Wolna Wszechnica Polska [Free Polish University]) delivered by the professor. The presentation is followed by a discussion on the different approaches presented in various pedagogical encyclopaedias and in Ludwik Chamaj’s Kieruki i prądy pedagogiki współczesnej [Trends and directions in modern pedagogy]. The latter approaches present Nietzsche as an instigator and a prime mover in contemporary intellectual currents and trends and discuss his influence upon individual philosophers, extracting from his philosophical output the notions of “individualism”, “criticism of the traditional educational system” and “irrationalism”. The journalistic writings under investigation fit well into this particular interpretative trend. The discussion on the interwar period is complemented with a reference to a booklet written by Stanisław Besser and entitled: Bohaterowie myśli. Nietsche i Weininger [Heroes of Thought. Nietzsche and Weininger] and an analysis of the article written by Marian Wachowski Wspomnienia z pism pedagogicznych Nietzschego i Grundtviga [Pedagogical reflections in the writings of Nietzsche and Grundtvig], being the only Polish contribution to the discussion on the series of lectures by Nietzsche Ueber die Zukunft unserer Bildungsanstalten

The Russian translation reception of Robert Burns's poem “Who is that at my bower-door?..” (1783) is for the first time considered in the article. It is emphasized that the comic work did not attract the attention of Russian translators until 1862, when the unsatisfactory interpretation of V. D. Kostomarov, deprived of the emotionality of the English original, came out. The results of the analysis of translations of the poem created by M. N. Shelgunov (1879), T. L. Shchepkina-Kupernik (publ. 1936), S. Ya. Marshak (1939), S. Sapozhnikov (publ. 2014), E. D. Feldman (2017), A. V. Krotkov (publ. 2018) are presented. The perception of Burns’ work in Russian literary criticism and literary criticism is comprehended. In particular, numerous reviews and studies are analyzed (A. T. Twardowski, K. I. Chukovsky, E. G. Etkind, T. B. Liokumovich, R. Ya. Wright-Kovaleva, A. Bobyleva), caused by S. Ya. Marshak translation, who, despite all his liberties, preserved the atmosphere of a lively conversation between two people, and emphasized their intonational, emotional and gender differences. It is noted that, having entered into a polemic with S. Ya. Marshak, who made Burns unnecessarily classic and stylistically “smooth”, modern translators created interpretations in the spirit of courteous poetry, largely devoid of the aesthetics of the original, its unique melody.

The article examines the attitude of philosopher, poet, and aesthetician Aleksandr Gorsky to the personality and legacy of A.M. Gorky. It outlines the main directions of Gorky’s perception and interpretation by Gorsky. The article argues that Gorsky highlights vitality and projectivity of Gorky’s creative thinking, and considers him a consistent immortalist. The focus is on Gorsky’s unpublished work “Overcoming Faust” (1939–1940), a typical example of philosophical criticism that uses philological methods of analysis. Gorsky examines Faustianism through the prism of the rejection of individualism, which is specific for Gorky’s work. Considering the desire for knowledge and action as the defining feature of the Faustian consciousness, Gorsky notes that this desire is constrained and limited by the fact of human mortality and the recognition of the omnipotence of nature. The fact that Faustianism does not aim at overcoming death and eventually comes to terms with with it, allows Gorsky to see Faustianism as a bourgeois type of consciousness. Instead, Gorky, by standing against petty-bourgeois passivity in his work, raises the question about the means to overcome death. Gorky’s early fairy tale “The Girl and Death” is interpreted by Gorsky in the context of the development of life-affirming consciousness that overcomes death by the power of love and devotion to the common cause.

Prompted by the investigative journalist Gitta Sereny's biography Albert Speer: His Battle with Truth, two recent productions, Esther Vilar's Speer and David Edgar's Albert Speer, have set out to explore the reputation of Hitler's architect and later Minister of Armaments and War Production, Albert Speer, the only leading Nazi to acknowledge his guilt at the Nuremberg Trials. The plays, like the biography, are concerned with the extent of Speer's knowledge of the ‘Final Solution’ during his career in the Nazi hierarchy, and consequently with the integrity of the stance he adopted at Nuremberg and thereafter – that is, of his claim of guilt by association and omission rather than by active participation. In her biography, Sereny claims that as a result of her association with Speer he eventually acknowledged his guilt to her, and was repentant. But Nick White believes that the evidence – much of it unearthed by Sereny herself – suggests otherwise, and that Sereny had failed to acknowledge that between 1978 and his death in 1981 Speer consistently deceived her about crucial aspects of this evidence. How successful are Vilar and Edgar in their quite different dramatic sifting, not only of the public persona of Speer, but also of the interpretation granted their subject by the biographer upon whom their plays, to a lesser and greater degree, depend? Nick White has taught at City University, London, and his PhD dissertation, ‘In the Absence of Memory? Jewish Fate and Dramatic Representation: the Production and Critical Reception of Holocaust Drama on the London Stage, 1945–1989’ (1998) has been followed by a companion volume of criticism, articles, and letters, The Critical Reception of Holocaust Drama on the British Stage, 1939–2000.

This text is about one of the longest processes of political communication, which, decades on, influences politicians of various generations of the Central, Eastern and Western Europe, contents of media and self-awareness of the audience. The process isn’t over yet, this is obvious not only from the document adopted by the EP but also from an international political rhetoric. Analysis of consequences of the Molotov-Ribbentrop Pact signed on 1939 in media (D’39Pact) and related national and international decisions is the axis of information conflict between the East and the West concerning thousands of fates. Those thousands of people had and still have different historical narratives – some people justified the Pact and implemented it, others were fighting for the elimination of its consequences, yet others fell victims to it, with a death toll estimated in the millions. But not everybody’s narratives are based on true arguments.Let’s look at the way the system of propaganda collapsed and the public opinion was transformed in countries of Central and Eastern Europe in 1988-1989. Moving from a lie to (hopefully) the historical truth. Review of consequences of the Molotov-Ribbentrop Pact was the main axis of such transformation (protection of environmental and cultural valuables, choice of one’s viewpoint, legislative requirements and other rights were contextual aspects of this axis). During this period in the previously mentioned region the control of public space was on the decline.This view will be based on a single thematic discourse: the provision of consequences of the 1939 Treaty of Non-aggression between Germany and the Union of Soviet Socialist Republics and criticism in communist model media of Lithuania and neighbouring countries. It may be called D’39Pact.D‘39Pact in general has several narratives (it may also be seen from the EP Resolution), but taking into consideration the interpretation of Jurgen Habermas’s Communicative Action, the analysis of transformation of 1988-1989 two of them would suffice, one of which is that of the authorities of the USSR and the other one – that of its opponents. Let’s call opponents USSR dissidents, protestors, underground press (samizdat) and press of public movements which was published legally.Narrative of the USSR authorities: the treaty was the inevitable and no annexes (secret protocols) exist.Narrative of the opponents: based on secret protocols of the treaty, the USSR and Nazi Germany divided the countries and destroyed their political, military, cultural elite and finally – their population of various social layers.Medias, as the main participant of the public space, most clearly disclose the collision of such narratives and transformation in D‘39Pact. The purpose of the article is to discuss the circumstances of transformation of MMPT from the historical perspective and of the public space and come across the factors, which influenced the strongest role of MMPT interpretative accomplishments. Considering the way out of the “labyrinth” regarding the D’39 Pact, we see some similarities with the situation that now exists in Russia.

This paper aims to present an analysis considering the works “The Lawless Roads” (1939) and “The Power and the Glory” (1940) by Graham Greene from the perspective of perceptions and representations of the Mexican people constructed by the author. In order to do so, the paper is grounded on theories of post-colonial literary criticism and travel literature, specially regarding topics on identity, otherness and hybridism, in order to make a brief observation on the perception and representation of the Mexican by Greene, particularly regarding the role of the eyes of the Mexicans, with the purpose of outlining his personal point of view that is universalizing towards the native and of framing how he characterizes the Mexicans from a Eurocentric and colonial perspective. This research adopts qualitative, interpretative and documental methods in the proposed analysis and points towards the prevalence of perceptions and representations of the Mexicans that set forth a hostile gaze over the Mexican natives.

At the turn of the millennia, the politically unbiased analytical thought of the world describes the total humanitarian entropy, which has unsafely plunged the theory and practice of art into a deep crisis. Accordingly, academic scientists, and primarily philosophers and culturologists, as well as art historians who have not lost their independent critical thinking ability, are consolidating into an ever-increasing front of those analysts who resist the current situation, because they tend to see behind the superficial statistics of a sharply increasing number of glossy magazines, exhibition reviews and other printed materials, including circulations of ordinary booklets that massively accompany any art projects of all kinds of galleries or public art actions, which go to significant investment funds from private foundations and centers — the premature death of art criticism, which, in the figurative expression of James Elkins, has become “like a trackless thicket, tangled with with unanswered questions”. Artistic practitioners, accustomed to servile survival in the conditions of the global art market, which imposes the rules for the production of a creative product solely in their own interests, are in a state of crisis no less severe than criticism. Manipulative interpretations of the concept of publicity, as well as the orientation of public art towards the function of socio-political and socio-educational regulatory action, like a mediator between society and power, legitimizes and strongly supports the phenomenology of things. Without a transcendental goal, the reification of the community’sthinking leads to a slide of creative consciousness and formal vocabulary of art expression to the level of kitsch, which was sharply criticized back in 1939 by Clement Greenberg. The fetishization of an art object as a commodity contributes to the steady cultivation of an instrumentalized consciousness by artists. Public visual practices, formally inheriting the idea of dissolving in the stream of everyday life, first proclaimed by the historical avant-garde, actually dissolve in consumerism, turning art objects into objectified political and sociocultural invectives, or, according to D. Lukacs’ terminology, such invectives that have undergone the process of reification. Meanwhile, visual public projects also actively use conceptualized clichés in the form of neutral abstract design objects, where the dominant criterion of conformity to the spirit of the times as quasi-modernity is the uncommonness of an innovative solution to lexical expression. The phenomenology of a thing legitimizes any experimentation, but it is not able to overcome the deepening crisis of theory and practice, drawing the cultural and artistic existence of society into a prolonged state of hysteresis. Analysts see the only way out of this situation in the return to the culture of the theory and practice of the traditions of Kantian-Hegelian philosophy, and in particular the postulates of transcendental aesthetics.

In 2016 during the inventory and transportation of the archaeological finds from temporary archaeological storage at Pheophania to the present-day storage facility of the Institute of Archaeology, the materials of the excavations of the expeditions of 1980 and 1985 were selected and processed. The excavations and surveys were conducted by expeditions under the lead of O. G. Shaposhnikova and D. Ya. Telehin on the territory of the Starobilsk district of the Luhansk region. The surveys in 1980 were conducted at only two locations located close to each other — the settlements of Aidar-Bila and Pidhorivka. Aydar-Bila. Because the location plan is missing (it is also missing from the 1986 report), it was not possible to locate the settlement on the map. However, it can be assumed that the multilayered settlement of Aydar-Bila is located in the eastern part of the village Pidhorivka of the Starobilsk district of the Lugansk region, on the low floodplain terrace of the right bank of the river Bila (the right tributary of the Aydar river). At the location of the settlement, the width of the valley of both rivers is 2.23 km. In 1986, additional research was conducted and the site was named Hyrlo Biloyi. In fact, this name is more common and widely used in the scientific literature. The settlement is multilayered, as indicated by the code on the finds. The largest number of finds is associated with layer 4. Given the vertical distribution of the finds, it can be assumed that there are at least three episodes of occupation in the history of the settlement, two of which, given the peculiarities of the finds, occurred in the Neolithic Period and one in the Late Bronze Age. Pidhorivka. The multilayered settlement of Pidhorivka is located on the off-shore terrace of the right bank of the Aydar River, at the point where the coast recedes to the west, thus forming a sufficiently wide floodplain, on which the depressions of the old-aged lakes are noticeable. In total, about 10 different settlements were found within the specified floodplain, 5 of which are known from the research of S. O. Loktushev in 1939. In 1963, the Pidhorivka settlement was investigated by V. M. Gladilin, however, no report or publication on the results of the research appeared, as correctly pointed out by Y. G. Gurin in 1998. It is only known that the expedition V. M. Gladilin cleaned up the coastline of the Aydar River, where the Neolithic materials were discovered. Some findings revealed by the expedition led by V. M. Gladilin appear in the monograph V. M. Danilenko as an example of the material culture of the Azov culture he identified. In 1980, the expedition of the Academy of Sciences of the USSR under the direction of O. G. Shaposhnikova laid out an excavation area on the Pidhorivka settlement. The results of these studies are unknown (missing report, field documentation, and findings). In the same year an expedition led by D. Y. Telegin excavated a trench with a total area of 5 m2. Later (in 1984), the site was explored by an expedition under the general guidance of K. I. Krasilnikov and Y. G. Gurin. The total number of findings revealed as a result of the research by O. G. Shaposhnikova reached 295 units. The material analysis demonstrates the settlement is multi-layered. The upper horizons with the Middle and Late Bronze Age materials being the latest. In the conditional horizon of 0.8/0.9 m, a rather informative fragment of the Late Copper Age vessel was found, and at the same time, it is accompanied by a flint complex, which has the appearance of the Early Copper Age or Neolithic. The artifacts found in the conditional horizons of 0.9/1.0—1.1/1.2 m appear to be relatively «pure» in that the cultural and chronological terms clearly define their affiliation with the Early Neolithic Period and allow them to be associated with the Lower Don culture/Nizhnedonska culture of the Mariupol Cultural and Historical Area. At the same time, the presence of earlier artifacts, such as a conical single-platform core and multiple-truncated burin, makes one more cautious to interpret the complexes. Both the core and the burin look more logical in the flint complexes of the lower horizons of the site. In this sense, it is important to pay attention to the description of the stratigraphic section of the excavation area 2 of the settlement Pidhorivka, presented by Y. G. Gurin in a monograph about the Early Copper age sites of the Siversky Donets Basin. It states that, at a depth of 1.7/2.0 m and below, the layer of floodplain alluvium contains «Mesolithic materials». Y. G. Gurin did not publish the materials themselves that he claimed were from the Mesolithic era. In 2006, O. F. Gorelik issued a publication dedicated to the interpretation of the materials of the lower layer of Pidhorivka. In this work, he linked the affiliation of the flint complex with the early stage of Donetsk culture, and considered the site one of the centers of the Mesolithic industries with the yanishlavitsa type of projectile points. This conclusion is based on the similarity of the materials of the lower layer of Pidhoryvka with the flint complex of the site Shevchenko hamlet, one of the features of which is the presence of a yanislavitsa type of projectile point. In 1999, the materials of the site Zelena Hornitsa 5 were published, which is located on the second floodplain terrace of the lake on the left bank of the Siversky Donets River. In the material culture of this site, even if there are multiple elements, they in no way affect the overall situation. The complex of projectile points of the site consists of trapezes, a yanislavitsa type, points with truncated edges, and so on. The presence of the collapse of the stucco vessel along with these flint products, gave rise to criticism of the idea of O. F. Gorelik about the Mesolithic character of complexes with a yanislavitsa type of projectile points. Later V. O. Manko, in a more detailed form, questioned the theory of O. F. Gorelik. To the present day we can state that there has been some stagnation in this issue. The surveys in 1985 were conducted at the valley of Aidar river from v. Lyman to v. Losovivka. In this area, sites lots have been found, which in chronological terms date back to the Paleolithic—Medieval times. For this reason, we believe that the introduction into scientific circulation of even a small amount of archaeological materials, allows the creation of a more complete picture of the processes that took place in the basin of the middle stream of the Siversky Donets River during the Neolithic—Copper Age.

This article is the result of the research that discusses about the role of Hjalmar Schacht in building the German economy in 1933-1939. The main problem that is studied in this article is "How was the role of Hjalmar Schacht in order to built the German economy in the period 1933-1939?". The method used in this study is historical method consisting of four steps of activity, there are; heuristics, source criticism, interpretation, and historiography. Based on research studies that have been done, Hjalmar Schacht had a very important role in the development of the German economy after World War I. In order to rebuild the German economy, Schacht issued many policies, among others; (1) Addressing the problems of unemployment, (2) Funding of German industries, and (3) Addressing the needs of industrial raw materials. However, these policies were issued not only to improve the German economy, but it was planned to rearm the German military in preparation for a larger war in 1939.

South Kalimantan is a province where the majority of the population holds strong Islamic teachings. This is evidenced by the large number of ulama who are scattered in almost all areas in South Kalimantan, therefore the Banjar community is known as a strong community holding the religion of Islam because of the existence of ulama who have influence and a large role in society. The research objective was to describe the biography of a ulama from Martapura named KH Muhammad Rosyad and to explain his role as a ulama in Martapura Subdistrict Kota Banjar Regency in 1939-2000. The research method used is the historical method. The steps taken in this research are heuristics or data collection through the interview method. The second stage is data criticism. The third stage is interpretation, and the last stage is historiography, namely writing the research results. The results showed that KH Muhammad Rosyad was born from the marriage of KH. Ahmad Zaini and Hj. Noorjanah on April 15, 1939, and died on Thursday, June 8, 2000 at the age of 63. The role of KH Muhammad Rosyad in preaching is that he opens a routine recitation every Wednesday night. He is also a lecturer at the Darussalam Martapura Islamic Boarding School, Datu Kalampayan Bangil and the College of Sharia Sciences. He is one of the scholars whose words and actions are in harmony in fostering the ummah, this is evidenced by him establishing a financial institution called BMT Al-Karomah Martapura Sharia Cooperative which still exists today with the aim of helping the economy of the people, especially the people of Martapura.

A number of critics have observed that there is no tradition of women's writing in Russian. The writings of Lydia Chukovskaya, I. Grekova and Tatiana Tolstaya--the principle subjects of the present work--partially contradict this perception, and defy the restrictions imposed by ideological authoritarianism and of gender.
All three writers describe aspects of the Soviet, and human, condition, in unique ways. Lydia Chukovskaya's fiction portrays women, paralyzed by the scope of the Stalinist terror, who attempt to survive with dignity and accept their individual responsibility. I. Grekova writes about single women who maintain their autonomy through a balance between their professional and domestic lives. Tatiana Tolstaya's characters inhabit an atmosphere of lyrical alienation from which there is no exit.
This study examines in detail the work of these writers in the context of other Soviet men and women writers, as well as in the light of Western, feminist thought.

Colette's desire, to reveal the different levels of difficulties in relationships, results in the creation of three masterpieces, L e Ble en Herbe, La Chatte, and La Vagabonde. Through her characters in these novels, the author exposes the spatial boundaries set by each couple. Also, she concentrates on the maturation of the protagonists. The woman's function in society transforms as she gains personal power, and she becomes self-reliant. Finally, Colette evades sexual stereotyping by introducing the reader to the issues of gender and androgyny. She helps to dispel the sexual myths around the. idea of normal stereotyping. Themes such as male and female physical characteristics and related "socially acceptable" behaviors are addressed. In general, these works clarify ideas about the way in which individuals associate with one other. Chapter I will analyze the spatial limitations created by the protagonists. It will examine two binary oppositions, "in/out" and "dream-world/reality". The "in/out" opposition will focus on both physical and mental spaces, whereas the "dream-world/reality" opposition will magnify tangible and unreal spaces. This chapter's objective is to demonstrate the uses of territorial boundaries and deduce their affects in relationships. Chapter II will investigate the association between Colette's characters and the liberation of womankind. The aim is to examine the female characters' growth in regard to the society around her. As well, obtaining personal power and the concept of empowerment is treated ~y studying the use of the female voice. This chapter will show a recurring theme of women overcoming the forces of patriarchy and moving beyond the confines of societal rules. Chapter III will study the issue of gender and androgyny in Colette's characters. It will bring to light Colette's use of gender roles, and the way in which her protagonists search out an identity and learn about themselves. Finally, this chapter will cover gender stereotypes and Colette's contemporary view of such an issue. In summary, the novels to be treated, Le Ble en Herbe, La Chatte, and La Vagabonde, will move through three different levels of development in the growth of the characters, from adolescence through young adulthood and into maturity. This notion will be utilized in each chapter and will demonstrate Colette's theme of relationships which spirals out of three connected ideas, space, consciousness and gender.

Richard Serra's sculpture constitutes a political act through its analytical and operative strategies: analytical, when the work exposes the structures that frame our intersubjectivity, and operative, when the work acts as an example of resistance to the habitual acceptance of these structures. The significance of this oeuvre to architecture is that Serra's sculpture deliberately presents itself as something just shy of architecture, claiming its critical role to be that abandoned by--and proper to--architecture.

This dissertation offers a revaluation of Walter de la Mare's poetry; it counters two common critical misconceptions; escapism and lack of development. The overall pattern of imagery in the poetry reflects de la Mare's understanding of reality. It outlines a universe of four interpenetrating "worlds": this world, the other world, the child world and the adult world. This pattern is used as a frame of reference. Key poems are closely read so the complexity beneath apparent simplicity is pointed up. The poetry divides into three chronological stages, with two peaks of maturity. In the early peak, The Listeners (1912) and Peacock Pie, (1913) a distinctive, dense symbolic mode is perfected. After a transitional period of formal experimentation, a late peak is achieved with Bells and Grass (1941) and The Burning-Glass (1945), where symbolic imagery forms the core for a quiet, reflective, conversational mode. Throughout, the children's and adult poetry are considered as a unit.

This dissertation is comprised of a collection of poems preceded by a critical preface. The preface reconsiders the value of discontinuous poetic forms and advocates a return to lyric as an antidote to the toxic aspects of what Tony Hoagland terms “the skittery poem of our moment.” I consider poems by Wendy Xu, Kevin Prufer, Sharon Olds, and Stephen Dunn in depth to facilitate a discussion about the value of a more centrist position between the poles of supreme discontinuity and totalizing continuity. Though poets working in discontinuous forms are rightly skeptical of the hierarchies that govern narrative and linear forms, as Czesław Miłosz notes in The Witness of Poetry, “a poet discovers a secret, namely that he can be faithful to real things only by arranging them hierarchically.” In my own poems, I make use of the hierarchies of ordered perception in lyric and narrative forms to faithfully illuminate the collapsed structures of my own family history in the shadow of Detroit. I practice the principles I advocate in the preface, using a continuous form to address fractured realities in a busy, disordered age when poets often seek forms as fragmented as their perceptions. These poems are distinctly American, but because there is no true royalty in America, our great cultural and economic institutions—television, music, film, magazines, and big business—take the place of the castle (the book’s emblem) while Michael Jackson ultimately rises as the commanding dead king whose passing prompts contemplation of the viability of popular culture, family, history, and geography. The fallen structures that litter the work are many: the twin towers, chess rooks, bounce castles, nuclear families, the auto industry. However, the sole structure cohering the whole is that of a lyric voice whose authority is derived through lived experience and presented in rich, continuous poetic forms.

This thesis offers an analysis of the intertextual practices in Marie-Claire Blais's trilogy Soifs by which we explore the way the author integrates into her novels significant literary figures and texts in order to underline one of the trilogy's constant themes: the innocence and suffering of the victims of the twentieth century and of today. In this fiction saturated with literary and artistic references, literature appears as a standpoint on modern world and works are considered to be acts of creation that opposes to the "choeur de la destruction" the voices of writers and artists.