Academic literature on the topic '1885-1922 Criticism and interpretation'
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Journal articles on the topic "1885-1922 Criticism and interpretation"
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Houston, Walter J. "Prophecy and Religion Revisited: John Skinner and Evangelical Biblical Criticism." Religions 12, no. 11 (October 28, 2021): 935. http://dx.doi.org/10.3390/rel12110935.
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The paper is an essay in the history of interpretation. Its subject is John Skinner’s book on the life of Jeremiah, Prophecy and Religion (1922). The main aim is to place the work in its historical, theological and cultural context, to explain Skinner’s conviction that Jeremiah’s life marks the emergence of personal religion in Israel and points towards Christianity. Attempts at such contextualization by J. Henderson and M.C. Callaway are studied and shown to be inadequate. Skinner’s religious context and theological education are then reviewed and are shown to be sufficient to account for his belief in the pivotal role of Jeremiah in the evolution of ‘religion’. The paper finally addresses the present-day significance of Skinner’s work and concludes that while Prophecy and Religion is of limited value for the interpretation of Jeremiah, Skinner’s life and work as a whole as an evangelical believer engaged in radical biblical criticism is a valuable model neglected over the last 100 years.
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Bertonneau, Thomas F. "Like Hypatia before the Mob: Desire, Resentment, and Sacrifice in The Bostonians (An Anthropoetics)." Nineteenth-Century Literature 53, no. 1 (June 1, 1998): 56–90. http://dx.doi.org/10.2307/2902970.
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Recent criticism of Henry James's The Bostonians (1885) tends to vindicate the plan of Olive Chancellor to recruit the young Verena Tarrant to the cause of radical feminism. This essay argues that such an interpretation can be made only at the cost of ignoring the novel's plea for recognizing the validity of the subject's own plan for himself or herself, a recognition that Olive's intentions regarding Verena violate. The essay makes use of an allusion in James's novel to Charles Kingsley's Hypatia (1853) that has been over-looked by previous critics. Exploring the relation between James's and Kingsley's novels permits us to understand that The Bostonians is a novel about sacrifice-the dedication of individuals to causes not their own and against their will. James ultimately affirms a dialogical view of human existence in which each individual makes an implicit demand to be included as an equal partner in a reciprocal conversation about life. The highest form of this conversation is love.
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Liani, Lulu, and Asep Ahmad Hidayat. "Rubrik Moerangkalih dalam Surat Kabar Sipatahoenan sebagai Sarana Edukasi pada Tahun 1935." Historia Madania: Jurnal Ilmu Sejarah 4, no. 1 (July 30, 2020): 73–106. http://dx.doi.org/10.15575/hm.v4i1.9187.
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The development of the press cannot be separated from the emergence of the idealism of the nation's struggle to achieve independence. One effort to achieve this is by publishing appropriate readings for the nation's successors. This was done by the Pagoejoeban Pasoendan organization which published a special rubric named moerangkalih in the Sipatahoenan newspaper. This study aims to determine the history of the establishment of the Sipatahoenan newspaper in 1922-1935 and find out the educational discourse in the rubric of Moerangkalih Sipatahoenan newspaper in 1935. The method used is a historical research method with four stages namely heuristics, criticism, interpretation and historiography. The results of this study Sipatahoenan was from the results of the Pagoejoeban Pasoendan conference on 25-26 December 1922 to be published under the leadership of Ahmad Atmaja Pagoejoeban Pasoendan, Tasikmalaya Branch. On April 29, 1931 Sipatahoenan was transferred to the central board so that a moerangkalih rubric was published which contained appropriate reading for children at that time. Educational elements that can be found include educating readers to better appreciate life, the way to achieve the glory of life, as well as stories that have moral values in it such as how bad deeds someone does will return to him and the consequences of lazy deeds done continuously and repeatedly. Keyword: Newspaper, press, education means
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Irwansyah, Yadri. "PANGERAN ASIR SANG PENGUASA KAWEDANAN RUPIT RAWAS (TINJAUAN HISTORIS KEPEMIMPINAN POLITIK PANGERAAN ASIR TAHUN 1922-1942)." Diakronika 18, no. 1 (November 21, 2018): 22. http://dx.doi.org/10.24036/diakronika/vol18-iss1/59.
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The study of this study discusses the historical aspects of the political leadership of Prince Asir, ruler of KawedananRupitRawas (1922-1942). RupedRawasKawedanan was a Dutch territory after the fall of the Palembang Sultanate. KawedananRupitRawas was led by Prince Asir as local leader of RupitRawas over the mandate given by the Dutch colonial government. This study uses the History method to explore the Local History of the Palembang Sultanate in the past. The stages of research begin with heuristics, source criticism, interpretation, and historiography. The research findings show that RupitRawasKawedanan at that time had a fertile area that produced natural resources, such as rubber, fruits and others. This area is drained by Rawasriver which then encourages the emergence of trade activities. Prince Asir is a charismatic leader who leads RupitRawas. He is a Dutch colonial leader who is considered capable, intelligent and accomplished and is considered capable of maintaining a commitment to the Netherlands. He was known as a wise leader and left many historical traces at RupitRawasKawedanan. During the struggle for Indonesian independence, Prince Asir was very instrumental in facilitating the Indonesian nation's struggle in Sumatra against the Dutch.
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Yashchuk, Tatyana F. "RSFSR Land Code of 1922 as the first codified act in the history of Russian land legislation." RUDN Journal of Law 26, no. 4 (December 15, 2022): 938–58. http://dx.doi.org/10.22363/2313-2337-2022-26-4-938-958.
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The RSFSR Land Code of 1922 (LC), adopted as part of the comprehensive codification of Soviet law in the 1920s, is in the focus of this article. The Land Code is looked at as the first codified act that forms the branch of Soviet land law, defining its subject, method, and parameters of further development. The article is based on extensive historiographical material, which is systematized by periods. In the 1920s the Code of Law was in full force, therefore, a doctrinal interpretation of its norms, and authors’ comments on the Code were published. Subsequently, the Land Code of 1922 was studied with the aim of understanding and gaining historical experience in the development of new land laws. The article uses normative legal acts of the Soviet period, published documents, and archival sources. Particular attention is paid to the LC draft preparation and its further development until legislative approval. The methodology includes the dialectical method, as well as comparative legal and formal legal methods. The LC is studied as a historical source of legal content; its external criticism is given. The impact on the content of the LC of social and political conditions of previously issued acts is revealed. It is determined that the Land Code reflects consistency and novelty of the Soviet land legislation. The level of consolidation and incorporation of previously tested norms is very high. The LC most noticeable gaps and the ways to overcome them are outlined.
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NEFEDOV, SERGEY. "TOWARDS A DISCUSSION ABOUT THE CAUSES OF THE RUSSIAN REVOLUTION AND THE STANDARD OF LIVING IN THE LATE 19TH AND EARLY 20TH CENTURIES." History and Modern Perspectives 4, no. 3 (September 28, 2022): 51–58. http://dx.doi.org/10.33693/2658-4654-2022-4-3-51-58.
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The article is devoted to the discussion between «pessimists» and «optimists» about the causes of the Russian revolution of 1917-1922. «Pessimists» traditionally believe that the main reason for the revolution was the low standard of living of the masses. «Optimists» argue that the economy of the Russian Empire progressed rapidly, and the level of consumption gradually increased. The next stage in this discussion was the book by B. N. Mironov «Russian Modernization and Revolution» published in 2019. In the new book, B.N. Mironov declares the development of Russia an «economic miracle» and cites 12 signs of this «miracle». In 2022, the Sociological History magazine held a round table discussion on Mironov's book and published the author's responses to critical statements made in the same issue. The article is devoted to the analysis of this criticism and the answers of the author of the book. It is shown that Mironov's argumentation is largely based on the use of unreliable yield statistics and an erroneous interpretation of the results of anthropometric measurements.
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Nilova, Anna. ""POETICS" OF ARISTOTLE IN RUSSIAN TRANSLATIONS." Проблемы исторической поэтики 19, no. 4 (December 2021): 7–39. http://dx.doi.org/10.15393/j9.art.2021.9822.
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The article presents an overview of the existing translations of Aristotle's “Poetics”, characterizes the features of each of them. In the preface to his translation of Aristotle's “Poetics”, V. Zakharov characterized the work of the Greek philosopher as a “dark text.” Each translation of this treatise, which forms the basis of European and world literary theory, is also its interpretation, an attempt to interpret the “dark places.” The first Russian translation of “Poetics” was made by B. Ordynsky and published in 1854, however, the Russian reader was familiar with the contents of the treatise through translations into European languages and its expositions in Russian. For instance, in the “Dictionary of Ancient and New Poetry” Ostolopov sets out the Aristotelian theory of drama and certain other aspects of “Poetics” very close to the original text. Ordynsky translated the first 18 chapters of “Poetics”, focusing on the theory of tragedy. The translator presented his interpretation of Aristotle’s concept in an extensive preface, commentaries and a lengthy “Statement.” This translation set off a critical analysis by Chernyshevsky, and influenced his dissertation “Aesthetic relations of art to reality”, in which the author polemicizes with the aesthetics of German romanticism. In 1885 V. Zakharov published the first complete Russian translation of “Poetics”, in which he offered his own interpretation of Aristotle's teaching on language and epic. The author of this translation returns to the terminology of romantic aesthetics, therefore the translation itself is outside the main line of perception of the teachings of Aristotle by domestic literary theory, which is clearly manifested in the translations of V. G. Appelrot (1893), N. N. Novosadsky (1927) and M. L. Gasparov (1978). The subject of discussion in these translations was the interpretation of the notions of μῦϑος and παθος, the concepts of mimesis and catharsis, the source of suffering and the tragic, the possibility of modernizing terminology. An important milestone in the perception and assimilation of Aristotle's treatise by Russian literary criticism was its translation by A. F. Losev, which was not published, but was used by the author in his theoretical works and in criticizing other interpretations of “Poetics”. M. M. Pozdnev penned one of the last translations of “Poetics” (2008). The translator does not seek to preserve the peculiarities of the original style and interprets “Poetics” within the framework and terms of modern literary theory, focusing on its English translations. The main subject of the translator's reflection is Aristotle's understanding of the essence and phenomenon of poetic art. Translations of the Greek philosopher's treatise reflect the history of the formation and development of the domestic theory of literature, its main topics and terminological apparatus.
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Gaižiūnas, Silvestras. "At the Origins of Modern Lithuanian Literary Studies. Phenomenon of Juozas Eretas." Pitannâ lìteraturoznavstva, no. 100 (December 27, 2019): 155–68. http://dx.doi.org/10.31861/pytlit2019.100.155.
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The article under studies is a critical survey of the activities of a Swiss scholar Juozas Eretas (1896–1984), one of the founders of Lithuanian Literary Studies, whose origin is closely related to the revival of the Lithuanian State (1918 р). Raised on the principles of the so-called Fribourg School, J. Eretas may be regarded as a vivid example of a catholic scientist. He emphasized the importance of the connection between research and thinking. In the 20-30s, having mastered the Lithuanian language, under the influence of the first translations of the world literary works into Lithuanian, Eretas laid the foundation of analytical criticism. He also took up the translation and, at the same time, became the founder of Lithuanian Germanic Studies, paying most of his attention to the Medieval German Literature, the heritage of mystics, the literature of “storm and drive”, particularly the works by Goethe and Schiller. In addition, Eretas made a considerable contribution to Lithuanian Theory of Literature: “Creating Philosophical Criticism in Literature” (lecture, 1922), “Philosophy and Poetry” (1924), “Methods of Literary Analysis” (1929). Eretas’ approach to German Literature was purely conceptual and rested on the idea of its universal nature (especially concerning Goethe): monographs “Young Goethe” (1932) and “Goethe Hundred Years Later” (1933). It is worth mentioning Eretas’ attitude to Goethe’s “Faust”. He interprets the main character typologically, as an eternal image of the world culture, pointing hereby to the increased attention to this image during the epoch of “storm and drive”. Eretas’ interpretation of the images of Faust and Mephistopheles, which present the idea of “dual world” that is so peculiar for Romanticism, seems very interesting and promising. Besides, Eretas was first in Lithuanian Literary Studies to refer to Goethe’s “Wilhelm Meister’s Apprenticeship” as to the novel of upbringing. Another significant subject of Eretas’ research was the History of World Mystics (the work “From the History of Mystics”, as well as the monographs on Tauler, Eckhart and Suso).
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Kudryashov, I. V., and S. N. Pyatkin. "What is Nikolai Klyuev’s “Hung Upside Down” Crying for? (On Poetic Epitaph to Victims of White Terror)." Nauchnyi dialog, no. 8 (August 24, 2021): 185–206. http://dx.doi.org/10.24224/2227-1295-2021-8-185-206.
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The article is devoted to the problems of historical and cultural commentary, as well as the interpretation of the ideological-figurative content and genre attribution of N. A. Klyuev’s poem “Hung upside down...”, created by the poet during the Vytegorsk period of his life (1918—1922). The analysis showed that the facts of Klyuev’s Vytegorsk life at the time of his creation “Hung upside down...” and the poet's deeply felt fear of being subjected to a cruel execution prompted him to literally perpetuate the memory of the victims of the White Terror who were martyred by hanging during the Civil War. The authors of the study come to the conclusion that references to the Bible and L. I. Palmin’s poem “Requiem” make it possible to attribute this work of Klyuev to one of the most ardent works of the poet of that time, calling on the living to selflessly serve the ideals of the proletarian revolution, and to identify its genre as a literary epitaph to the victims of the White Terror, which stands out for its monumentality and the timelessness of its valuable message to descendants. The authors of the article are convinced that the failed attempt by Klyuev to republish the poem “Hung upside down...” in 1927 betrays the poet, who is experiencing criticism of the counter-revolutionary content of his works, a desire to demonstrate the continuity of his later work with his “communard” past.
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Lasmiyati, Lasmiyati. "DITIOENG MEMEH HOEDJAN: PEMIKIRAN PANGERAN ARIA SURIA ATMADJA DALAM MEMAJUKAN PEMUDA PRIBUMI DI SUMEDANG (1800-1921)." Patanjala : Jurnal Penelitian Sejarah dan Budaya 6, no. 2 (June 1, 2014): 223. http://dx.doi.org/10.30959/ptj.v6i2.196.
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AbstrakPangeran Aria Suria Atmadja telah memajukan Sumedang di berbagai sektor seperti pertanian, perikanan, kehutanan, politik, kebudayaan, dan sektor lainnya. Atas jasa-jasanya dalam memajukan Sumedang, pada 25 April 1922 didirikan monumen berbentuk Lingga yang diresmikan oleh Gubernur Jenderal D. Fock. Pada masa pemerintah kolonial Belanda di bawah Gubernur Jenderal Paul van Limburg Stirum menguasai wilayah Sumedang, Pangeran Aria Suria Atmadja mengusulkan agar para pemuda pribumi dilatih menggunakan senjata. Penelitian ini dilakukan untuk mengetahui sosok Pangeran Aria Suria Atmadja, bagaimana dan dalam bidang apa beliau berkiprah untuk memajukan Sumedang dan bagaimana reaksi pemerintah kolonial terhadap kiprahnya. Tulisan berjudul Ditioeng Memeh Hudjan merupakan karya luhung Pangeran Aria Suria Atmadja yang berisikan keinginan, cita-cita, dan harapan untuk memajukan pemuda pribumi di Sumedang. Metode yang digunakan adalah metode sejarah yang meliputi heuristik, kritik, interpretasi, dan historiografi. Dari hasil penelitian yang dilakukan diperoleh informasi bahwa usulan Pangeran Aria Suria Atmadja agar pemerintah kolonial melatih para pemuda untuk menggunakan senjata ditolak. Pemerintah kolonial bereaksi dengan membuat tiga benteng pertahanan di Sumedang. AbstractThe prince Aria Suria Atmadja drummed up Sumedang in various sectors as well as agriculture, fishery, forestry, politics, culture, and other sectors. Because of his merit, on April 25th the Governor General D. Fock build a monumen, and the monumen shaped is Lingga (). In the era of Dutch colonialism, General Paul van Limburg Stirum hold the governor of Sumedang.In that time, Prince Aria Suria Atmadja was raising a new issue that the young people have to train in using a weapon (gun). What to do with this research is to know the figure of Prince Aria Suria Atmadja, especially to know the ways of Prince Aria in developing Sumedangand to find out the reaction of dutch collonial which is caused by the movement of the prince. The writtten entitled Ditioeng Memeh Hudjanis one of the greatest masterpiece of Prince Aria Suria Atmadja, which is containing his will, hope and expectation in drumming up young people in Sumedang. The method that writer used are related with Heuristic, criticism, interpretation, and historygraphy. The result of the research show us that the suggestions of Prince Aria Suria Atmadja related to the use weapon (gun) was rejected by the dutch collonial. The dutch collonial also build three defence fortress in Sumedang as the response to the movement.
Dissertations / Theses on the topic "1885-1922 Criticism and interpretation"
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Laing, Kathryn. "'The Sentinel' and the evolution of Rebecca West's early writing, 1910-1922." Thesis, University of Oxford, 1998. http://ora.ox.ac.uk/objects/uuid:c622e025-601f-4138-86f6-d44bd2a8d62a.
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This thesis aims to re-examine the first decade of Rebecca West's literary and journalistic career, based on an analysis of a newly discovered novel West began writing in 1909/1910. "The Sentinel", although incomplete and unrevised, is a key text to an understanding of West's early literary and feminist apprenticeship, helping to enrich reconsiderations of West's oeuvre in recent criticism. The recovery of West's writing into a female modernist canon provides a useful starting point, although the intertextual analysis of West's fiction and non-fiction during this period will show that this kind of categorisation is an inadequate representation of the complexity of her work. The limited time-frame of this study, 1910 to 1922, magnifies West's writing processes to reveal her self-conscious negotiations as a woman writer with the ferment of ideas and changes arising during the pre-war and war period, particularly in relation to contemporary feminism and an emergent male modernist aesthetic. The first chapter is concerned with identifying, dating and examining the significance of "The Sentinel" as source material for West's later published fiction and non-fiction. Many of West's pervading interests are already evident in the novel, illustrating in retrospect how her writing was shaped by differing literary contacts, feminist affiliations, the war and personal experience. Chapters Two and Three consider the impact on West's journalism and fiction of her associations with the radical feminist journal, The Freewoman, and her introduction to avant-garde writers. West's unsuccessful attempt to rewrite "The Sentinel" as the novel, Adela, is discussed in relation to selected feminist articles and the short story, "Indissoluble Matrimony", illustrating her attempts to adapt her feminist interests to aesthetic ones. Chapter Four shows how the war provided a cutting edge and a point of definition in West's writing at this time, both in her consideration of the role of art and of the gendered structures of society. The influence of writers such as H.G. Wells, Ford Madox Ford and Henry James is discussed in relation to West's preoccupation with the role of women during the Great War. This material provides an important context for the analysis of The Return of the Soldier in Chapter Five. Chapter Six is a transitional one, describing the effect of the war and its aftermath on contemporary feminist ideology, and evaluating Rebecca West's attempt to position herself as a writer and a feminist in relation to these changes. Chapter Seven argues that The Judge (1922) offers a cumulative history of West's literary and feminist apprenticeship, at once completing the cycle begun with "The Sentinel" and initiating a different stage of writing for West during the twenties.
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Bélanger, Danielle-Claude. "Les modalités de réécriture chez Madeleine Ferron /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29494.
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My thesis studies rewriting in the works of Madeleine Ferron. I analyze passages Ferron took from her own writings and rewrote in later texts. Between 1960 and 1995, Ferron produced 114 texts; they include tales, short stories, articles, novels, ethnographic studies and biographies. The author rewrote twenty-two passages and four complete texts. My study describes and analyzes the functions of the rewriting process in these texts: it explores, among others, literary devices, thematic structures and the manner in which the rewritings determine editorial strategies. Rewriting is at the core of the Ferronian esthetic and is here characterized by the transposition of genres, and corresponding processes of fictionalization or defictionalization. I identify three stages in Madeleine Ferron's writing career: the early years (1960--1970), when Jacques Ferron (her brother, a well-known writer) rewrote Madeleine's texts, the period during which her major works were produced (1971--1989); and 1990 to 1995, the period that saw the publication of her most "personal" texts; these chronological divisions correspond to the three main chapters of this thesis.
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Ghandeharian, Minoo. "Une analyse des Gommes, du Voyeur et de la Jalousie." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25408.
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Les Gommes, Le Voyeur, La Jalousie, les trois premiers romans de Robbe-Grillet, constituent la premiére phase de l'oeuvre de l'écrivain. Dans cette étude il s'agira de voir ce qui sépare la vision du monde et l'écriture de Robbe-Grillet de la tradition littéraire qui l'a précédé, ce qui, de cette tradition, subsiste encore chez lui, et ce en quoi consistent l'originalité et la spécificité de l'univers romanesque robbe-grilletien. D'une part, Robbe-Grillet rompt avec les formes et normes romanesques établies, d'autre part, il crée son propre univers romanesque. Cette rupture est manifeste dans Les Gommes comme l'est l'apparition d'un nouvel espace littéraire dans Le Voyeur, et surtout dans La Jalousie. Pour bien comprendre l'art et la position théorique de Robbe-Grillet, pour bien comprendre son oeuvre, il est absolument indispensable de connaltre la rupture d'avec l' " ancien " et le début d'un processus littéraire propre a Robbe-Griliet. L'une et l'autre se dessinent clairement dans Les Gommes, Le Voyeur, et La Jalousie.Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
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Jaeck, Lois Marie. "Marcel Proust and the text as macrometaphor." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25813.
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Marcel Proust and the Text as Macrometaphor proposes that metaphor may provide the key to understanding the structure and effect of some novels. Some literary works give rise to an inexpressible impression that transcends its component elements. This dissertation attempts to prove that such texts reflect on a macro-scale the structure of a poetic metaphor, and thus function as "macrometaphors". Because Marcel Proust established a connection in Le temps retrouvé between metaphor and a literary work, his investigation of the metaphorical process and the means by which it suggests to its reader the internal reality of things is utilized as the theoretical basis for a comparative analysis of six novels from the perspective of the metaphor-like structures that underlie their characterizations, organization, ideas, imagery, milieus, and symbols.
The Introduction discusses the validity of using Proust's A la recherche du temps perdu as an illustration of the novel as macrometaphor, and considers other theoretical studies which also suggest a possible connection between text and metaphor.
Chapter One analyzes Proust's theory of metaphor as set forth in Le temps retrouvé, elucidating first of all the meaning of the word "metaphor" as used by Proust. It then explores briefly how his usage fits into the history of the concept of metaphor from the time of Aristotle to the present day, and next explicates the steps taken by the narrator that culminate in his recognition of the metaphorical process and its relationship to art and life. Finally, it clarifies the structures and conditions that constitute metaphor as understood by Proust.
Chapter Two demonstrates how the totality of the novel A la recherche du temps perdu reflects the structure of metaphor as defined in Le temps retrouvé. The similarities shared by the structure of the text and the structure of metaphor are the grounds for viewing the text as a macrometaphor.
Chapter Three presents brief, comparative structural analyses of five other novels (Cervantes' Don Quixote, Diderot's Jacques le fataliste et son maître, Thomas Mann's Der Zauberberg, Julio Cortázar's Rayuela, and Gabriel García Márquez' Cien años de soledad) in order to demonstrate that these works reflect the structure of metaphor also.
The Conclusion presents some general ideas about the relationship of thought, discourse, metaphorical structure, literary works in general and novelistic structure in particular.Arts, Faculty of
English, Department of
Graduate
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Beaulé, Sophie. "Cancer, fulgurance : Robbe-Grillet, de l'avant-garde au paralittéraire." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36544.
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The aim of this study is to analyse the web of meaning underlying the presence of plots and images from paralitterature in the work of Alain Robbe-Grillet. This presence is explained by a transformation in the bookmarket, cultural environment and literary landscape, and corresponds to the malaise in the social discourse raised by the crisis.The bookmarket changed rapidly in the years following the war. Its reorganization along industrial lines lead to recurrent periods of crisis. That part of the market consisting of mass produced books came under the influence of American popular fiction. This situation had repurcussions on the literary field. People no longer saw books and authors as special, and the readership of serious literature decreased markedly. The avant garde itself seemed exhausted. Works of paralitterature, on the other hand, entered in a process of legitimation.
The New Novelists, and especially Robbe-Grillet, find in paralitterature expressions of the social discourse more powerful than those available in canonical literature. Popular fictions, rife with violence and agression, capture the worries and pessimism about society and the alienation of the individual. In Robbe-Grillet's work, the world is conceived as containing a cancer, one that threatens the social order. Reality is distorted in his fiction, and the characters are fragmented and lost in their imaginary world. The image of a cancerous society is crystallized in the motif of the ritual sacrifice of a woman. For Robbe-Grillet, though, this motif also suggests the origin of fantasy, and in doing so might rejuvenate the creative impulse. Behind the violence and eroticism of his fiction, then, and behind the anomia contaminating literature, is the desire to retrace the lightening of fantasy in the hope of dealing with both the modern world and the predicament of the novel, and possibly find a catharsis through it.
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Wright, Ross M. "Karl Barth's academic lectures on Ephesians (Göttingen, 1921-1922) : an original translation, annotation, and analysis." Thesis, University of St Andrews, 2007. http://hdl.handle.net/10023/399.
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This thesis consists of an original translation, annotation, and analysis of Karl Barth’s Academic lectures on Ephesians, delivered in Göttingen, winter semester, 1921-1922. The translation is composed from a typescript of Barth’s handwritten manuscript, located in the Karl Barth Archives, Basel, and is annotated for scholarly research, including complete bibliographical information on Barth’s sources. Barth’s exposition is a detailed exegesis of the Greek text of Eph. 1:1-23, comprising 13 lectures, with a summary of Ephesians 2-6 in the final chapter. Materially and formally, the exposition strongly resembles Romans II and Barth’s 1919 sermons on Ephesians, which the study examines. It also exhibits the theological objectivity of the Göttingen period, chiefly because of Barth’s explication of gnosis in Ephesians and his appropriation of Calvin’s theology of the knowledge of God. Barth made a material discovery in his study of Ephesians that fundamentally shaped his subsequent theology. He observes in Eph. 1:3-14 a train of thought which witnesses to God’s action to the creature in Christ and the creature’s subsequent movement to God. He concludes that we have come from God, who has chosen us in eternal election, and we are moving toward the glory of God, our divinely appointed goal. The exposition’s central theme is expressed in Barth’s claim that “the knowledge of God is the presupposition” and “the goal” of human existence. The distinguishing mark of Barth’s theological exegesis is its concreteness, that is, his ability to speak about the text’s contemporary meaning without lapsing into theological abstraction. This concreteness is the consequence of his theological hermeneutic. He describes the interpretive event as a field of action, consisting of the biblical text, the activity of the interpreter, and the divine speech act.
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Loundagin, G. John. "Signing the blues : toward a theoretical model based on the intertextuality of psycholinguistic metonymy and jazz phraseology for reading the texts of Jack Kerouac and Langston Hughes." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/897530.
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That marginalized discourse communities practice differing modes of communication is a claim recently argued; critics have focused on the trope of metonymy as a means of signifying a discriminated-against group's silenced status within the mainstream society. What seems to be ignored in this discussion is how differing media--literature, music, painting--constitute texts that cut across discursive space (the site of these media) in a similar fashion. By positing the intertextuality (i.e., the similarity) of psycholinguistic metonymy and jazz phraseology, this thesis demonstrates how literary texts issuing from marginalized discourse communities can speak their subjectivities' full names. In Langston Hughes' "The Blues I'm Playing," metonymy and jazz serve as methods of analysis which show the subject-object relationship in artistic production. Jack Kerouac's On The Road constitutes a narrative subjectivity that, like jazz music, metonymically disrupts itself as silences speak from the realm of an Other. By accounting for the similarities between metonymy and jazz, this thesis asserts that more accurate readings can be derived from literature issuing from discourse communities which use jazz to signify.Department of English
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Grimanis, Catherine. "The narrator in D.H. Lawrence's travel fiction : nostalgia, disillusion, and vision." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61874.
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Prévost, Maxime. "Gaiete perverse et rire de force dans l'œuvre de Victor Hugo." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37816.
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This thesis studies the theme of laughter in the works of Victor Hugo, distinguishing two topical networks: that of perverse gaiety and that of forced laughter. Part One (La Gaiete perverse) shows how Hugo, drawing various commonplaces related to cruel laughter in the gothic novel, creates a first family of characters whose laugh derives from their demented nature (the monster, the headsman, the priest, the outlaw, the mob, the court jester). Part Two (La Tristesse des justes) concerns the Hugo which, between 1845 and 1862, fashions a mythology of the People renewing with commonplaces related to perverse gaiety, which he now links to characters seen as pillars of the Second Empire (the tyrant, the soldier, the police officer). While the wicked laugh, the just man cries, and the laughter of the oppressed (the convict, the prostitute, the street urchin) is constrained. Part Three (Le Rire de force) considers three works dating from Hugo's exile, including L'Homme qui rit, where the author clearly defines what constitutes forced laughter: a victim's exultation caused by the perversity of his social torturer, the tyrant. This transition from perverse gaiety (which stems from individual perversion) to forced laughter (the result of society's perversion) will be interpreted as the reflexion of a shift in the identity of Hugo's implied reader. While the first Hugo wrote about the people, the later Hugo aspires to write for the people, which considerably affects the meaning conferred to various commonplaces used throughout his writing career.
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Ritchie, Fairlie. "Depth and destiny : religious significance in the symbolism of Isak Dinesen's literature." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66082.
Full textBooks on the topic "1885-1922 Criticism and interpretation"
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Mezhdunarodnye khlebnikovskie chtenii︠a︡ (9th 2005 Astrakhanʹ, Russia). Tvorchestvo V. Khlebnikova i russkai︠a︡ literatura: Materialy IX Mezhdunarodnykh Khlebnikovskikh chteniĭ, 8-9 senti︠a︡bri︠a︡ 2005 g. Astrakhanʹ: Izdatelʹskiĭ Dom Astrakhanskiĭ Universitet, 2005.
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Mezhdunarodnye, Khlebnikovskie chtenii︠a︡ (10th 2008 Astrakhanʹ Russia). Tvorchestvo Velimira Khlebnikova i russkai︠a︡ literatura XX veka: Poėtika, tekstologii︠a︡, tradit︠s︡ii : materialy X Mezhdunarodnykh Khlebnikovskikh chteniĭ. Astrakhanʹ: Izdatelʹskiĭ dom "Astrakhanskiĭ universitet", 2008.
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Mezhdunarodnye Khlebnikovskie chtenii︠a︡ (10th 2008 Astrakhanʹ, Russia). Tvorchestvo Velimira Khlebnikova i russkai︠a︡ literatura XX veka: Poėtika, tekstologii︠a︡, tradit︠s︡ii : materialy X Mezhdunarodnykh Khlebnikovskikh chteniĭ. Astrakhanʹ: Izdatelʹskiĭ dom "Astrakhanskiĭ universitet", 2008.
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Mezhdunarodnye Khlebnikovskie chtenii︠a︡ (10th 2008 Astrakhanʹ, Russia). Tvorchestvo Velimira Khlebnikova i russkai︠a︡ literatura XX veka: Poėtika, tekstologii︠a︡, tradit︠s︡ii : materialy X Mezhdunarodnykh Khlebnikovskikh chteniĭ. Astrakhanʹ: Izdatelʹskiĭ dom "Astrakhanskiĭ universitet", 2008.
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Jämsänen, Auli. Juho Mäkela, (1885-1943). [Oulu]: Pohjoinen, 1997.
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G, Weststeijn Willem, ed. Velimir Chlebnikov, 1885-1922: Myth and reality : Amsterdam Symposium on the Centenary of Velimir Chlebnikov. Amsterdam: Rodopi, 1986.
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Carl Spitzweg 1808-1885. München: Prestel, 2007.
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Hennaut, Eric. Henry Lacoste, architecte: 1885-1968. Bruxelles: AAM Éditions, 2008.
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Hennaut, Eric. Henry Lacoste, architecte: 1885-1968. Bruxelles: AAM Éditions, 2008.
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Almeida, Tácito de. Túnel ; e, Poemas modernistas, 1922-23. São Paulo: Art Editora, 1987.
Find full textBook chapters on the topic "1885-1922 Criticism and interpretation"
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Kovalev, Nikon I. "The Underground Man’s Reception by Nikolay Berdyaev and Gottfried Benn." In “Notes from Underground” by F.M. Dostoevsky in the Culture of Europe and America, 417–24. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0668-0-417-424.
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The article proposes a discussion of Dostoyevsky reception by German expressionist writer Gottfried Benn (1886–1956). Benn’s reception is strongly influenced by Dostoyevsky’s critics such as Merezhkovsky, Berdyaev and Thomas Mann. The most important influence was Berdyaev’s Dostoyevsky: An Interpretation («Миросозерцание Достоевского »). Benn has read a German translation of the work and possessed a copy of it where he had left multiple notes. In a letter to a friend, Friedrich Oelze, Benn quoted Notes from Underground. Most likely, he quoted not the original, but Berdyaev’s quotation. The exact words he quoted, “Leid is die einzige Ursache des Bewusstseins, suffering is the sole origin of consciousness”, are not to be found in current German translations of Dostoyevsky. However, in one of his essays, Benn coined the term Dostojewskidunkel (“Dostoyevsky’s darkness”) which could be seen as a reference to German translations of 1921–1922 under the title Aus dem Dunkel der Grosstadt (From Big City Darkness). Berdyaev also speaks about Dostoyesky expressing “darkness of Russian people”. The main traits of Berdyaev’s Dunkel which lured Benn are irrationalism, labeling of Dostoyevsky’s art as Dionysian, lack of traditional novel-like psychologism and concept of suffering as the main source of art.