Academic literature on the topic '1879-1955 Criticism and interpretation'

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.

This article discusses four Hamlet adaptations produced in twentieth-century Japan: Naoya Shiga’s ‘Claudius’s Diary’ (1912), Hideo Kobayashi’s ‘Ophelia’s Testament’ (1931), Osamu Dazai’s New Hamlet (1941) and Shohei Ooka’s Hamlet’s Diary (1955). Though differently motivated, and written in different styles, they collectively make something of a tradition, each revealing a unique, unexpected interpretation of the famous tragedy. Read as a group, they thoroughly disprove the stereotypical view that Japan has generally taken a highly respectful, imitative attitude to Western culture and Shakespeare. Hamlet has certainly been revered in Japan as the epitome of Western literary culture, but these adaptations reveal complicated, ambivalent attitudes towards Shakespeare’s play: not only love and respect, but anxiety, competitiveness, resistance and criticism, all expressed alongside an opportunistic urge to appropriate the rich ‘cultural capital’ of the canonical work.

This study aims to describe the role of Sheikh Dr. Abdul Karim Amrullah in developing Muhammadiyah in Maninjau. This type of research is qualitative research with historical methods, and heuristic measures, source criticism, interpretation, and historiography. The theory and approach in this research is the phenomenological approach and the theory of study figures. The results obtained from this study first, Sheikh Dr. H. Abdul Karim was a scholar who was born in 1879 Ad and died in 1945 A.D. He was born to a religious family, since childhood he has received a religious education from both parents and then continued his education through non-formal course. Secondly, the role of Sheikh Dr. H. Abdul Karim Amrullah in developing Muhammadiyah in Maninjau, backed by the religious condition of Maninjau that time has been mixed only, is no longer distinguished where the teachings of pure Islam and which are mixed with bid'ah, and Khurafat. This is what prompted Sheikh Dr. H. Abdul Karim Amrullah to make updates to Islam that has been corrupted in Maninjau. Therefore, to accelerate this renewal. He was the pioneering establishment of Muhammadiyah in Maninjau, after his return from Java in 1925 A.D.

In the history of Indonesia, the workers have played a relatively important role in the course of the nation. At a time when the Indonesian people were fighting for independence, the role of the workers could not be ignored, could not be forgotten. They worked hand in hand with other mass groups to free the Indonesian people from the grip of the colonialists. This article aims to reveal how the existence of workers in the socio-political situation and their involvement in practical politics in Indonesia in 1955. This article was written using the historical method which consists of several stages, namely heuristics, criticism, interpretation, and historiography. In this article, it can be concluded that there are political and economic relations between trade unions and various political elements, especially with political parties. The relationship between the two has different interests where labor unions have economic interests in order to get a living wage, health insurance and oppose arbitrary actions by employers. Meanwhile, political parties make themselves as a forum for channeling labor union voice aspirations and use them as a vote base.

Abstract The second essay of Nietzsche’s Genealogy of Morals introduces the ‘sovereign individual’ as ‘responsible’, ‘autonomous’ and ‘free’. Does this affirmative use of moral terminology reveal an unexpected affinity between Nietzsche’s thought and philosophical modernity? In the last decades, this issue has been at the heart of a vast and controversial debate. My analysis shows that, rather than throwing light on Nietzsche’s general position, the specific use of Kantian terms in this passage of GM is due to a polemical intention. Implicitly, Nietzsche rejects Eduard von Hartmann’s criticism of the ‘absolute sovereignty of the individual’. The author of the Phänomenologie des sittlichen Bewusstseins (1879) sees the most radical herald of this ‘sovereignty’ in Max Stirner. From Nietzsche’s point of view, Hartmann’s rejection and Stirner’s affirmation share a reductive conception of ‘sovereignty’. Reinterpreting and ‘revaluing’ Kant’s moral terminology, Nietzsche aims to give an interpretation of individual sovereignty that is at the same time antithetical to Stirner’s and wholly at odds with Hartmann’s ethical views. In showing this, the paper gives a new answer to an old question; for already in the 1890s, Hartmann himself, accusing Nietzsche of plagiarizing Stirner, raised the issue of the historical relationship between the two philosophers. More generally, the paper shows that Nietzsche employs a specific textual strategy, which consists in taking Kantian terms in an ‘anti-Kantian’ sense and systematically cultivating the art of using ‘a moral formula in a supramoral sense’.

“KIPRAH POLITIK PAGUYUBAN PASUNDAN PERIODE 1927-1959”. The author takes the topic of Paguyuban Pasundan with the above title, because it is based on the results of the study of literature by the author, that there is still the lack of works that discuss Paguyuban Pasundan, especially about political activities. The main issues that will be raised in this thesis is that Paguyuban Pasundan is not limited active in social and cultural sectors but also actively engaged in politics. Based on the main issue can be developed into three formulation of research: What is the background to the Paguyuban Pasundan? How is the political role of the Paguyuban Pasundan period 1927-1959? How is the end of political struggle Paguyuban Pasundan in 1959? The method used is the historical method which consists of four stages, namely Heuristic, Criticism, Interpretation, Historiography, and to be helped by using an interdisciplinary approach from the social sciences (especially of Sociology and Politics). The technique that author uses is the study of literature related to the theme of the author analyzed. Based on the results of the study of literature by the author, Paguyuban Pasundan period 1927-1959 has an important role, especially in the political field. In the period 1927-1942 establishing PPPKI, GAPI and active in the Volksraad. The period of 1942- 1945 some of its members active in the formation of Japanese agencies suchas newspapers Tjahaja, PETA and Java Hokokai. Period 1945-1950 actively opposed the establishment of Negara Pasundan founded by the Dutch and the last period of 1950-1959 which Paguyuban Pasundan involvement in the 1955 general election.

This study focuses on the life, ideas, and role of Kiai Ahmad Fauzan in developing Islamic teachings and national values. Islam and nationalism are two things that interconnected and not contradictory. In Indonesian history, the two of them caused turmoil, even opposition. The purpose of this study is to prove the return of the Moslem spirit which is in line with the development of local religious leaders, primarily through case studies of local scholars in Jepara, such as Kiai Ahmad Fauzan. This study used a historical method, including heuristics, source criticism, interpretation, and historiography. Kiai Ahmad Fauzan was a leader of the Nahdlatul Ulama (NU) who fought through education and politics to uphold the AhlussunahwalJamaah(Aswaja) ideology in Jepara. Fauzan's Islamic and national ideas can be seen from syair[poems] conveyed to the public. Syairbecame a media for propaganda for Kiai Ahmad Fauzan in spreading the religious understanding of Islam Aswaja. It is delivered to the community as reminder and awareness of harmonious religious and national values. His role in the religious and socio-political fields was seen when Japan began occupying Jepara in 1942. He was the target of arrest because of his role as a cleric. Its leadership formed from religious roles carried out mainly through madrasa and da'wah by traveling from one village to another. Kiai Ahmad Fauzan was involved in socio-religious organizations such as the Indonesian Islamic Assembly (MIAI), Indonesian Muslim Council (Masyumi), and NU, especially during the 1955 elections. Kiai Ahmad Fauzan was also trusted by the government to be the first leader of the Ministry of Religion in Jepara after independence revolution.

This paper aims at chronicle the relations between catholic workers movement and immigration from Southern Italy. The point of view is Turin during the ‘60s. It underlines the interest showed by Cisl and Acli concerning that phenomenon. It underscore evolution in Cisl's interpretative paradigms and Acli's increasing criticism towards consumerism. It shows the relations between action for integration of immigrants, will of attract them and interest in studying factory and urban changes. The thesis of this essay is that different ideological traditions could come closer resting upon the approach of trade unions to inner migration and socio-urban analysis and that the job actions of the '70s will be based on this refreshed unity.

In Lolita (1955), Nabokov is playing a game with all his readers. Who do you think the winner is and what the game is all about? Nabokov who is a brilliant author wants to criticise Freud and his theory of psychoanalysis. He wants to rebel against Freud and his ideas. This paper aims to show you how successful Nabokov was in conveying his own ideas. We want to see whether or not psychoanalysis can be rejected by the help of Nabokov using a parody and trying to put psychoanalysis three key concepts: sexuality, memory, and interpretation into questioning. In this attempt, Nabokov takes a journey from conscious to unconscious and guides the readers with himself through this journey. He shows them symbols which may not represent real symbols, and simple characters which may not be that simple and plain; characters which have a wound in their Superegos and a dark side in their Ids and Egos.

The popular historical narrative of the batik Sidoarjo needs to be reexamined based on historical methodology so that there is no historical bias based only on oral stories of the general public. Many studies are trapped in an inaccurate understanding of local historicity. As a result, these various studies have failed to fit batik Sidoarjo into its full context, instead it has become a kind of narrative standardization on its characteristics and history. This study aims to criticize the historical construction that has been popular in relation to the basic understanding of batik Sidoarjo and to explain the position of batik Sidoarjo in the cultural framework of its people. This article is the author's attempt to provide an analysis or explanation that is different from the historical narrative of batik Sidoarjo which is commonly used in various discussions. This research is classified as a qualitative research, using the historical method which consists of four stages, namely heuristics, source criticism, interpretation, and historiography. This research uses historical and sociological approaches to collect, select, and critically examine historical sources of Sidoarjo batik, resulting in historical facts. The results showed that the historicity of batik Sidoarjo refers to the batik activities in the areas of Kedungcangkring, Jetis, Sekardangan, Gajah Mada St. (Peranakans), and Tulangan, all of which have a direct relationship with both Peranakans nor indigenous. Batik Sidoarjo is not framed by traditional rituals, nor is it under the control and domination of the royal aristocracy. Its growth is based on the factor of the economic needs of the supporting community, which tends to be a trading commodity. The presence of other groups of people or nations such as Peranakan Chinese, Indo-European, Dutch, Arabic contributed to the birth of Sidoarjo batik. Keywords: batik, Sidoarjo, historical criticism.AbstrakNarasi sejarah batik Sidoarjo yang populer perlu dikaji ulang dengan didasari metodologi sejarah sehingga tidak terjadi bias sejarah yang hanya berdasar pada cerita lisan masyarakat umum. Banyak penelitian yang terjebak dalam pemahaman historisitas setempat yang kurang tepat. Akibatnya, berbagai kajian tersebut tidak berhasil mendudukkan batik Sidoarjo sesuai dengan konteksnya secara utuh, malah menjadi semacam standardisasi narasi pada karakteristik maupun sejarahnya. Penelitian ini bertujuan untuk mengkritisi konstruksi sejarah yang telah populer terkait pemahaman dasar tentang batik Sidoarjo serta menjelaskan kedudukan batik Sidoarjo dalam kerangka budaya masyarakatnya. Artikel ini merupakan upaya penulis untuk memberikan analisis atau paparan yang berbeda dari narasi sejarah batik Sidoarjo yang umum dilakukan pada berbagai pembahasan. Penelitian ini tergolong dalam penelitian kualitatif, dengan menggunakan metode sejarah yang terdiri atas empat tahap, yaitu heuristik, kritik sumber, interpretasi, dan historiografi. Penelitian ini menggunakan pendekatan historis dan sosiologis untuk mengumpulkan, menyeleksi, dan menguji secara kritis sumber-sumber sejarah batik Sidoarjo, sehingga menghasilkan fakta sejarah. Hasil penelitian memperlihatkan bahwa historisitas batik Sidoarjo merujuk pada aktivitas pembatikan yang ada di wilayah Kedungcangkring, Jetis, Sekardangan, Jl. Gajah Mada (China Peranakan), dan Tulangan yang kesemuanya saling terkait memiliki hubungan langsung baik itu pembatikan China peranakan maupun pribumi. Batik Sidoarjo tidak dikerangkai oleh ritual adat, juga tidak di bawah kendali dan dominasi aristokrasi kraton. Pertumbuhannya didasari faktor kebutuhan ekonomi masyarakat pendukungnya, sifatnya cenderung merupakan komoditas dagang. Hadirnya golongan masyarakat atau bangsa lain seperti China Peranakan, Indo-Eropa, Belanda, Arab turut berpengaruh melahirkan batik Sidoarjo.Kata Kunci: batik, Sidoarjo, kritik sejarah. Author:Asy Syams Elya Ahmad : Universitas Negeri Surabaya References:Abbas, Irwan. (2014). Memahami Metodologi Sejarah antara Teori dan Praktek. ETNOHISTORI: Jurnal Ilmiah Kebudayaan dan Kesejerahan, 1(1), 33–41.Abdurrahman, Dudung. (1999). Metode Penelitian Sejarah. Yogyakarta: Logos.Ahmad, Asy Syams Elya. (2013). Kajian Estetik Batik Sidoarjo. Tesis. Tidak Diterbitkan. Bandung: Program Studi Magister Desain, Institut Teknologi Bandung.Anas, Biranul, Hasanuddin, Ratna Panggabean, Yanyan Sunarya. (1997). Indonesia Indah-Buku ke 8; “Batik”. Jakarta: Yayasan Harapan Kita/BP 3 TMII.Anshori, Yusak & Kusrianto, Adi. (2011). Keeksotisan Batik Jawa Timur. 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Creativity, for Wallace Stevens, depends on connections to the natural world which can be examined through garden imagery. Chapters one and two focus on Stevens' private writing, identifying the range of garden environments and natural expanses to which he responded and associating these responses with his aesthetic sensibilities. Continental and Adamic traditions in garden imagery are explored as are contemporary practices in conservation and horticulture. Chapter three concentrates on poems which treat the garden as a locus amoenus of repose and delight where a poet can engage his imaginative faculties with sensual reality. Chapter four analyzes poems whose garden imagery elucidates Stevens' attempts to confront social and political as well as aesthetic issues. Chapters five and six examine Stevens' consideration of the garden as a hortus mentis, emblematic of creative experience, where Stevens assesses the relation of expression to environment and celebrates life lived "in the word of it."

In "Discourse in the Novel," Mikhail Bakhtin tells us that "Every discourse presupposes a special conception of the listener, of his apperceptive background and the degree of his responsiveness." My study of Wallace Stevens's poetry examines Stevens's "conception of the listener"—in the form of his intratextual readers, their responsiveness, and the shapes that responsiveness takes—and attempts to formulate out of that examination Stevens's theory of reading embodied in his canon of poems.

In this dissertation, Wallace Stevens' imagination-reality problem as depicted in his poetry is discussed in terms of an eco-critical map-territory divide. Stevens's metaphor of "the necessary angel" acts to mediate human necessity, the map, with natural necessity, the territory, in order to retain contact with changing cultural and environmental conditions. At stake in this mediation are individual freedom and the pertinence of the imagination to the experience of reality. In Chapter 2, the attempt at reconciliation of these two necessities will be described in terms of surrealism. Stevens's particular approach to surrealism emphasizes separating and delineating natural necessity from human necessity so that through the poem the reader can experience the miracle of their reconciliation. In Chapter 3, this delineation of the two necessities, map and territory, will be examined against Modernist "decreation," which is the stripping bare of human perception for the purpose of regaining glimpses of the first idea of the external world. And in Chapter 4, Stevens's approach to the problem of the map-territory divide will be considered against his alienation or internal exile: balancing nature and identity through mediating fictions results in a compromised approach to the marriage of mind and culture in a historically situated place.

Current scholarship on Miles Franklin emphasises the gaps and contradictions of a secretive and mysterious author. The eagerly awaited release of her private papers was marked by Paul Brunton's 2004 publication of her diaries, an edition that has been conceived and understood as a revelation of "the real Miles Franklin" (Lecture Title, State Library). This thesis disrupts the concept of a "real" Franklin by arguing that these diaries, in their manuscript form, give us more delay. Foregrounding the performative guises of the private diary subject, this thesis establishes that we are, and will always be, waiting for the real Miles Franklin to arrive. The insights of diary and textual theories illuminate Franklin, I will argue, as one who seeks the proliferative creativity of the anonymous author, and who would use her diary writing to escape definition within public discourse. Yet the tension between creativity and the daily enables us to see how potential is distorted into waiting in the surrogate space of these diaries, as Franklin seeks protection within the nostalgia of a national past and an Edenic vision of the future. This vantage point directs us to identify, as will be seen, the vulnerabilities and instabilities of this space for Franklin, as it implicates her in the dilemma of her times. In this way, we can ascertain how she holds the line as a "spotless virgin" (3 May 1942) in her resistance to the gender performances of new women, her refusal to be defined as one thing or another. This resistance to imitation will also be analysed as it plays out via the curse of Franklin's self-repetition in an Australia that waits, disrupting her attempts to achieve anonymity as the embodiment of a national literary tradition. In her avoidance of being a private text to be read, Franklin promotes herself, I will contend, as a "world classic" (Franklin Furphy 3) author of and in these diaries, resisting the transition from the readerly to the modernist writerly text at a time of artistic revolution (Barthes S/Z 4). In illuminating Franklin's exposure to these very vulnerabilities as a subject-in-process, in a document intended for posthumous publication, this thesis will establish that she has made a courageous contribution to the complexities of a particular moment within Australian modernity

Canadian artist Helen McNicoll (1879-1915) has long been neglected in art historical scholarship. Although well-known and well-regarded during her lifetime, her work has since been marginalized as feminine and dismissed as old-fashioned. Through the lens of a modernist art historical tradition that has privileged the urban and masculine above all else, McNicoll's Impressionist depictions of sunlit beaches, open fields, and rural women at work may indeed seem quaintly nostalgic. In this thesis, I argue that these images can and should be seen as both representations of modernity and assertions of feminist thought. McNicoll travelled throughout England and Europe, and across the Atlantic Ocean in search of artistic subject matter; viewed within the context of tourism---which has been theorized as a fundamentally modern activity---her images appear modern in ways that have not traditionally been recognized.

From introduction: It has become something of a commonplace among critics to remark Forster's relative lack of success in offering an alternative to the world which he satirises with such wit and humour. His comic treatment of the suburban absurdities of the Edwardian Englishman is, on the whole, far more compelling and memorable than the often vague, symbolic gestures by means of which he implies the possibility of something better. With the exception of his last and greatest novel, A Passage to India, his "alternatives" are largely factitious and contrived. Worse, the reader senses a fundamental uncertainty on the part of the author: his characteristic ambivalence in itself an indication of a perceptive and discriminating mind -- all too often suggests lack of conviction rather than an intelligent awareness of the infinitude of human possibilities.

Ceramics has always existed on the fringes of craft and high art. The purpose of this thesis project is to elevate clay beyond the traditions of craft by examining the historical use of clay and the everyday object. My research looks specifically at works by Marcel Duchamp, Andy Warhol, Jeff Koons and Jasper Johns in order to examine the origin of displaying the massproduced object and reflecting upon it’s validity as high status art object. In this project I am also interested in infrastructural systems within modern architecture-- plumbing, wiring, heat ducts vents-- with a specific focus on systems lurking inside walls and how these function to influence architectural space. With the advent of modern plumbing, concealing these elements was adopted as the new standard and still exists today. Through the presentation of defamiliarized handmade objects, my exhibition presents the appearance of manufactured material through the serial manipulation of scale, surface and quantity. The result reveals a clay piece that renders the material unrecognizable providing the viewer with a new view on the object's tradition.
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