Relevant bibliographies by topics / 1889-1966 Criticism and interpretation

Academic literature on the topic '1889-1966 Criticism and interpretation'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "1889-1966 Criticism and interpretation"

1

Rogacz, Dawid. "The living past and self-made future: Li Dazhao’s metaphilosophy of history." Człowiek i Społeczeństwo 53 (June 27, 2022): 187–99. http://dx.doi.org/10.14746/cis.2022.53.11.

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The paper offers a reconstruction and re-evalutation of the philosophy of history developed by Li Dazhao (1889–1927) – one of the first Chinese Communists. It is argued that despite its marginal treatment in scholarly literature, Li’s philosophy stands out from the thought of other Chinese Marxists for its creative interpretation of historical materialism and a critical engagement with Marx’s view of class struggle and the economic base. Furthermore, in his philosophy of history, Li Dazhao innovatively draws on the Confucian idea of Great Unity (datong), Daoist criticism of heroism, and, most importantly, the concept of ‘life’ in Lebensphilosophie. In addition, the article shows that Li’s view of the historical process was consistently complemented with an exceptional meta-philosophy of history and the philosophy of historiography which shared the premises of the much later narrativist epistemology of history.
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Rasyad, Abdul, Reiza D. Dienaputra, Mumuh Muhsin Zakaria, and Raden Muhammad Mulyadi. "Tarekat dan Modal Sosial dalam Sistem Pendidikan Nahdlatul Wathan, 1966-1997." Jurnal Sejarah Citra Lekha 6, no. 2 (October 15, 2021): 68–79. http://dx.doi.org/10.14710/jscl.v6i2.31812.

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Tarekat [Islamic congregation] is always interesting to be studied, including the Tarekat Hizib that developed in the Islamic organization of Nahdlatul Wathan (NW). This paper aims to explain the development and exposes a system of tarekat education and understand the social capital relations involved in the NW organization. This study is a historical study which is carried out in four stages, namely heuristics, criticism, interpretation, and historiography. According to the study, the education system developed by NW combines the salafiyyah [An education system that condemns theological innovation and advocates strict adherence to shari'a and to the social structures existing in the earliest days of Islam] and khalafiyyah, in which on the one hand maintains the traditional education in pesantren [Islamic boarding schools], but on the other hand also follows government regulations in implementing the national education system. Meanwhile, tarekat relations in the tarekat education system become a social capital in the religious life of NW followers and shaping the characteristics and personality of the community as well as the spiritual messages outlined by the tarekat founders. During the period 1966 to 1997, it was the main period as well as the antithesis in changing the orientation of the spiritual life perspective among the NW followers which has been getting stronger.
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Abreu, José Guilherme, Salomé Carvalho, Rui Bordalo, and Eduarda Vieira. "THE IMAGE OF SOARES DOS REIS’ SCULPTURE IN ART HISTORY, ART CRITICISM AND LITERATURE: EPOCHS, MODELS AND REPRESENTATIONS." ARTis ON, no. 9 (December 26, 2019): 74–85. http://dx.doi.org/10.37935/aion.v0i9.240.

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A hundred thirty years after his dramatic death, António Soares dos Reis (ASR) remains a huge challenge for art history understanding and art criticism interpretation, since he has been seen simultaneously as “a Greek, […] a realist, […] a classical, […] and a naturalist” (Arroyo, 1899: 78). His major sculpture – O Desterrado – being “an existential work” (França, 1966: 454) escapes from the classic orthodox aesthetic analysis, standing apart from the typical sculptural work of late 19th century. Our hypothesis is that ASR art works like a Rorschach test, for the narratives referred to it, instead of unveiling its character, reveal the concepts and beliefs upon which successive art studies have been produced. No visual images are displayed in this text, since the aim of our study is to detect the mental images associated to the insights and models that art historians and other authors traditionally used to assess ASR’s artistic work.
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Kholidah, Nur Isnaini. "“BANJIR DAN BANTUAN DI SURAKARTA” FILANTROPI DALAM BANJIR SOLO TAHUN 1966." Al-Isnad: Journal of Islamic Civilization History and Humanities 3, no. 1 (July 28, 2022): 15–30. http://dx.doi.org/10.22515/isnad.v3i1.5255.

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ABSTRACT This research discussed aboute the philanthropic practices that occurred in the Solo flood in 1966. The city of Solo and the surrounding area is an area that is often subject to flooding. This happens because Solo City is one of the areas crossed by the Bengawan Solo River, where Bengawan Solo is the longest river in Java Island. If at any time there is a significant increase in rainfall and for a long time, the worst risk caused is the occurrence of a flood disaster. One of the major floods that hit Solo City and the surrounding area was the flash flood that occurred in 1966. The incident hit six inner districts and caused considerable losses. The problem studied this time is how the philanthropic practices of the Indonesian people remain intertwined in the midst of unstable political conditions, because 1966 was a fairly crucial period. To conduct this research, the author used the historical research method. This method includes the selection of titles, data collection, criticism or selection and filtering of data, interpretation or interpretation of the data that has been obtained, and the last step is historiography or the stage of writing history. In addition to using historical research methods, the author also uses the concept of social roles as a theoretical basis in carrying out the research. The concept was chosen by the author because it is able to help the author in seeing how the role of each individual and group in the recovery of the Solo City Area and its surroundings after the flash flood disaster. The results of this reseach is explain how the flood disaster that hit the Solo region and its surroundings in 1966 could move a sense of humanity and empathy among the Indonesian people in the midst of unstable political conditions. Until the people of Solo City and also the surrounding areas who are victims of the disaster can bounce back from the slump caused by the flood disaster. The participation of the Indonesian people as a reaction to the flood event that hit Solo and its surroundings was able to restore the state of Solo City and the surrounding area as before. Keywords: Bengawan Solo, flood, philanthropy
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Ternova, M. V. "CONCEPT OF THE STUDY OF ART BY R.J. COLLINGWOOD AS AN OBJECT OF THEORETICAL ANALYSIS." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 36–40. http://dx.doi.org/10.17721/ucs.2020.1(6).08.

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The article analyzed concept of the study of art by Robin George Collingwood (1889-1943), a well-known English neo-hegelian philosopher. His significant part of the theoretical heritage is connected with the explanation of the nature of art and with the consideration of its condition during the period of the changing Oscar Wilde era to the era of Rudyard Kipling. The circle of problem such as content and form, character, image, mimesis, reflection, emotion, art and "street man" identified. All of them in Collingwood's presentation and interpretation significantly expanded the space of research not only English, but also European art criticism. The concept of study of art is "built" on the basis of an active understanding of historical and cultural traditions accented. The concept of art criticism of R.G. Collingwood – a famous English philosopher of the XIX-XX centuries, on the one hand, has self-importance, and on the other, although based on the traditions of contemporary humanities, still expands art history analysis of aesthetics through aesthetics and psychology. Recognizing the exhaustion of the English model of romanticism, R.G. Collingwood tries to outline the prospects for the development of art in the logic of the movement "romanticism – realism – avant-garde", which leads to the actualization of the problem of "mimesis – reflection". At the same time, the theorist's attention is consciously concentrated around the concept of "subject", the understanding of which is radically changing at the turn of the XIX-XX centuries. Theoretical material in the presentation of R.G. Collingwood is based on the work of Shakespeare, Reynolds, Turner, Cezanne, whose experience allows us to focus on the problem of "artist and audience". It is emphasized that Collingwood's position is ahead of its time, stimulating scientific research in the European humanities. The existence of indicative tendencies, which are distinguished in the logic of European cultural creation of the historical period, is emphasized.
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Harisman, Trisna Awaludin, Raden Muhammad Mulyadi, and Widyo Nugrahanto. "PEMBREDELAN SURAT KABAR PIKIRAN RAKJAT TAHUN 1965." Patanjala Jurnal Penelitian Sejarah dan Budaya 12, no. 1 (April 18, 2020): 103. http://dx.doi.org/10.30959/patanjala.v12i1.528.

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Tujuan dari penelitian ini adalah untuk mengetahui latar belakang pembredelan surat kabar Pikiran Rakjat pada 1965 setelah munculnya peraturan bagi pers untuk berafiliasi dengan partai atau organisasi politik tertentu. Penelitian ini menggunakan metode penelitian sejarah kritis yang terdiri dari empat tahapan kerja: heuristik, kritik sumber, interpretasi, dan historiografi. Hasil penelitian ini menunjukkan bahwa pada awal tahun 1965, kegiatan pers surat kabar Pikiran Rakjat sempat diberhentikan oleh pemerintah disebabkan terlambatnya surat kabar ini untuk terlibat dalam aktivitas politik. Pada 24 Maret 1966 atas dorongan Pangdam Siliwangi para wartawan yang di wakili Sakti Alamsyah sepakat untuk melakukan kerjasama untuk menerbitkan surat kabar Angkatan Bersenjata Edisi Jawa Barat. Belum setahun surat kabar ini terbit, Kementeriaan Penerangan mencabut kembali peraturan tentang afialiasi dalam dunia politik. Kondisi ini menyebabkan pada 24 Maret 1967 surat kabar Angkatan Bersenjata Edisi Jawa Barat berubah nama menjadi Harian Umum Pikiran Rakjat dibawah pemimpin umum redaksi yaitu Sakti Alamsyah. The purpose of this study is to determine the background to the banning of the Pikiran Rakjat Newspaper in 1965. The ban came after the government issued a regulation of requiring the press to be affiliated with certain political parties or organizations. This study uses a critical historical research method consisting of four stages of work, namely heuristics, source criticism, interpretation, and historiography. The results of this study show evidence that in the beginning of 1965 the government banned the newspaper because it was considered too late to engage in political activity. At the instigation of Commander of Military Regional Command/Siliwangi, it was on 24 March 1966 that journalists represented by Sakti Alamsyah agreed to cooperate in publishing Angkatan Bersenjata Newspaper West Java edition. However, when it was not yet a year old, the Ministry of Information revoked the regulations on obligating the press to affiliate with the political world. It was on March 24, 1967 that Angkatan Bersenjata Newspaper West Java edition consequently changed its name to Harian Umum Pikiran Rakjat and was operated under the editor-in-chief Sakti Alamsyah.
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Deci, Tiwi Rahma. "Etnis Tionghoa Kota Padang: Upaya Pelestarian Identitas Etnis Dalam Aspek Sosial-Budaya Tahun 1966-2002." FACTUM: Jurnal Sejarah dan Pendidikan Sejarah 10, no. 2 (October 30, 2021): 187–98. http://dx.doi.org/10.17509/factum.v10i2.38984.

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ABSTRACTThis article is entitled " Socio-Cultural Life Development of Chinese Ethnic in Padang City Since 1966-2002. The main problem raised in this thesis is how social and cultural life of Chinese ethnic in Padang City from the New Order to the beginning of reformation. From this problem, it is revealed three research questions: 1) How was socio-cultural life of Chinese ethnic in Padang city since early period of 1966. 2) What were the efforts made by Chinese in Padang city to preserve their ethnic identity in socio-cultural aspect during 1967-2002. 3). How is the pattern of cultural interaction between Chinese ethnic and local residents in Padang city. The method used to explain these problems is historical methods, namely: source collection, source criticism, interpretation and historiography. The research techniques used are literature study and interviews. In facilitating the analysis process, the researcher used historical approach assisted by several auxiliary sciences such as social science and anthropology. The findings and discussions conclude that socio-cultural life of Chinese ethnic experienced ups and downs depending on the implemented policies in each period of Indonesian government. However, the results of the study found out that socio-cultural life of Chinese ethnic in Padang city can still be carried out in accordance with the traditions and cultures of their ancestors. It's because the community and the city government provided spaces for Chinese ethnic as a form of acculturation, so that the similarities between Chinese ethnic and the Minangese people in preserving culture could be implemented based on respective cultures and traditions In Chinese arts membership, it was found that there was a cooperation between Chinese and Minangese community in Barongsai art and also other arts a form of cultural acculturation. Keywords: ABSTRACTThis article is entitled " Socio-Cultural Life Development of Chinese Ethnic in Padang City Since 1966-2002. The main problem raised in this thesis is how social and cultural life of Chinese ethnic in Padang City from the New Order to the beginning of reformation. From this problem, it is revealed three research questions: 1) How was socio-cultural life of Chinese ethnic in Padang city since early period of 1966. 2) What were the efforts made by Chinese in Padang city to preserve their ethnic identity in socio-cultural aspect during 1967-2002. 3). How is the pattern of cultural interaction between Chinese ethnic and local residents in Padang city. The method used to explain these problems is historical methods, namely: source collection, source criticism, interpretation and historiography. The research techniques used are literature study and interviews. In facilitating the analysis process, the researcher used historical approach assisted by several auxiliary sciences such as social science and anthropology. The findings and discussions conclude that socio-cultural life of Chinese ethnic experienced ups and downs depending on the implemented policies in each period of Indonesian government. However, the results of the study found out that socio-cultural life of Chinese ethnic in Padang city can still be carried out in accordance with the traditions and cultures of their ancestors. It's because the community and the city government provided spaces for Chinese ethnic as a form of acculturation, so that the similarities between Chinese ethnic and the Minangese people in preserving culture could be implemented based on respective cultures and traditions In Chinese arts membership, it was found that there was a cooperation between Chinese and Minangese community in Barongsai art and also other arts a form of cultural acculturation. Keywords: Chinese Ethnic, Government Policy, Discrimination, Acculturation. 1Tiwi Rahma Deci adalah mahasiswa pada Program Studi Pendidikan Sejarah FPIPS UPI, Erlina Wiyanarti, Yeni Kurniawati Sumantri adalah dosen pembimbing. Penulis dapat dihubungi di email: tiwi2597@gmail.com. ABSTRAKArtikel ini berjudul ”Perkembangan Kehidupan Sosial Budaya Etnis Tionghoa Kota Padang Tahun 1966-2002. Masalah utama yang diangkat pada skripsi ini adalah “Bagaimana kehidupan sosial dan kebudayaan etnis Tionghoa kota Padang masa orde baru hingga awal reformasi? Dari permasalahan tersebut terbagi menjadi tiga pertanyaan penelitian: 1). Bagaimana kehidupan sosial-budaya etnis Tionghoa kota Padang pada masa awal tahun 1966. 2) Bagaimana upaya yang dilakukan etnis Tionghoa kota Padang untuk melestarikan identitas etnisnya dalam aspek sosial-budaya tahun 1967-2002. 3). Bagaimana pola interaksi budaya antara etnis Tionghoa dengan penduduk lokal Kota Padang. Metode yang digunakan untuk menjelaskan permasalahan tersebut menggunakan metode historis yakni: pengumpulan sumber, kritik sumber, interpretasi dan historiografi. Teknik penelitian yang digunakan yakni studi literatur dan wawancara. Dalam mempermudah proses analisis, peneliti menggunakan pendekatan sejarah yang dibantu oleh beberapa ilmu bantu seperti ilmu sosial dan ilmu antropologi. Hasil temuan dan pembahasan penelitian ini menyimpulkan kehidupan sosial-budaya etnis Tionghoa mengalami pasang surut sesuai kebijakan yang diterapkan pada masing-masing periode pemerintahan Indonesia. Akan tetapi, hasil penelitian menemukan kehidupan sosial budaya etnis Tionghoa kota Padang masih dapat dilaksanakan sesuai dengan tradisi dan kebudayaan leluhurnya, hal tersebut disebabkan masyarakat dan pemerintah kota memberikan ruang bagi etnis tionghoa sebagai bentuk akulturasi kota Padang, sehingga persamaan etnis Tionghoa dan masyarakat Minangkabau dalam melestarikan budaya dilaksanakan sesuai dengan tradisi dan kebudayaan masing-masing. Didalam keanggotaan kesenian Tionghoa kota Padang ditemukan adanya kerjasama yang terjalin antara etnis Tionghoa dengan masyarakat Minangkabau di dalam kesenian barongsai dan kesenian lainnya sebagai bentuk akulturasi budaya.Kata Kunci: Etnis Tionghoa, Kebijakan Pemerintah, Deskriminasi, Akulturasi.ABSTRAKArtikel ini berjudul ”Perkembangan Kehidupan Sosial Budaya Etnis Tionghoa Kota Padang Tahun 1966-2002. Masalah utama yang diangkat pada skripsi ini adalah “Bagaimana kehidupan sosial dan kebudayaan etnis Tionghoa kota Padang masa orde baru hingga awal reformasi? Dari permasalahan tersebut terbagi menjadi tiga pertanyaan penelitian: 1). Bagaimana kehidupan sosial-budaya etnis Tionghoa kota Padang pada masa awal tahun 1966. 2) Bagaimana upaya yang dilakukan etnis Tionghoa kota Padang untuk melestarikan identitas etnisnya dalam aspek sosial-budaya tahun 1967-2002. 3). Bagaimana pola interaksi budaya antara etnis Tionghoa dengan penduduk lokal Kota Padang. Metode yang digunakan untuk menjelaskan permasalahan tersebut menggunakan metode historis yakni: pengumpulan sumber, kritik sumber, interpretasi dan historiografi. Teknik penelitian yang digunakan yakni studi literatur dan wawancara. Dalam mempermudah proses analisis, peneliti menggunakan pendekatan sejarah yang dibantu oleh beberapa ilmu bantu seperti ilmu sosial dan ilmu antropologi. Hasil temuan dan pembahasan penelitian ini menyimpulkan kehidupan sosial-budaya etnis Tionghoa mengalami pasang surut sesuai kebijakan yang diterapkan pada masing-masing periode pemerintahan Indonesia. Akan tetapi, hasil penelitian menemukan kehidupan sosial budaya etnis Tionghoa kota Padang masih dapat dilaksanakan sesuai dengan tradisi dan kebudayaan leluhurnya, hal tersebut disebabkan masyarakat dan pemerintah kota memberikan ruang bagi etnis tionghoa sebagai bentuk akulturasi kota Padang, sehingga persamaan etnis Tionghoa dan masyarakat Minangkabau dalam melestarikan budaya dilaksanakan sesuai dengan tradisi dan kebudayaan masing-masing. Didalam keanggotaan kesenian Tionghoa kota Padang ditemukan adanya kerjasama yang terjalin antara etnis Tionghoa dengan masyarakat Minangkabau di dalam kesenian barongsai dan kesenian lainnya sebagai bentuk akulturasi budaya.Kata Kunci: Etnis Tionghoa, Kebijakan Pemerintah, Deskriminasi, Akulturasi.
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Mlikota, Jadranka, and Rene Čipanj Banja. "O Bojničićevoj Gramatici madžarskoga jezika iz drugoga kuta: uzroci i narav mijena izdanja gramatike na razmeđu dvaju stoljeća." Studia Slavica Academiae Scientiarum Hungaricae 66, no. 2 (January 16, 2023): 341–58. http://dx.doi.org/10.1556/060.2022.00018.

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U sjeni Bojničićeva rada, obilježenoga iznimnim prinosom hrvatskoj kulturnoj povijesti i pomoćnim povijesnim znanostima, ostala je Gramatika madžarskoga jezika (1888., 1896., 1905., 1912.) koja je na razmeđu dvaju stoljeća, u vrijeme smjene filoloških škola (zagrebačke školom hrvatskih vukovaca), doživjela nekoliko izmijenjenih izdanja. Gramatiku je – točnije njezino prvo izdanje – kao udžbenik odobrio Odjel za bogoštovlje i nastavu Kr. ugarskoga ministarstva, potom ju nagradio 1889., a naposljetku je ipak negativno ocijenjena, i to u službenom glasilu istoga Odjela koji ju je i nagradio, u Nastavnom vjesniku, a gotovo jednako ocijenit će ju i neki mađarski izvori početkom 20. stoljeća.Pritom je riječ o kritikama koje su se mahom odnosile na (hrvatski) metajezik gramatike, donošenje netočnih pravila te na njezino, po sudu određenih kritičara, nesustavno oblikovanje, a samom se Bojničiću zamjerala nedostatna filološka naobrazba. Upravo ju stoga ti kritičari između ostaloga opisuju kao priručnik neprikladan za nastavnu uporabu. Od navedenih četiriju izdanja gramatike – iako konzultirani hrvatski i mađarski izvori ustvari ne donose nedvosmislen podatak o tome koliko je točno izdanja gramatika doživjela – spomenutoj je filološkoj ocjeni također podlegnulo samo prvo, a autor je poneke ispravke uklopio u kasnija izdanja svoga gramatičkoga priručnika.U ovom se radu uspoređuju četiri izdanja Bojničićeve gramatike, utvrđuju se jezične, nazivoslovne i leksičke mijene njezina polaznoga (hrvatskog) jezika te se propituje u kojoj su mjeri potaknute objavljenim kritikama te koliki je odraz smjene filoloških škola vidljiv u pojedinim izdanjima. U sklopu tumačenja mijena što ih izdanja gramatike sadrže, posebice se ističu jezične osobitosti svojstvene normi zagrebačke filološke škole, čime se pak nastoji potkrijepiti činjenica kako je riječ o obilježjima koja su prisutna u svim četirima izdanjima gramatike neovisno o vremenu njihova izdavanja te jezično-političkim okolnostima i utjecajima pod kojima su nastala.U konačnici se nastoji potvrditi (ne)opravdanost negativne recepcije koju je gramatika imala u dijelu filološke javnosti svojega vremena. Drugim riječima nastoji se dati odgovor na pitanje valja li Bojničiću pridružiti epitet autora čiji rad – pa tako ni njegova gramatika – u odgovarajućoj mjeri nije stručno potkovan ili mu pak, bez obzira na njegovu naobrazbu i upućene kritike, valja odati priznanje zbog neospornih prinosa što ih je dao u području hrvatsko-mađarske gramatikografije.In the shadow of Bojničić’s work marked by exceptional contributions to Croatian cultural history and auxiliary historical sciences remained the Hungarian Grammar (1888, 1896, 1905, 1912), which at the turn of the century, at the time of change of philological schools (Zagreb philological school was supplanted by the school of Croatian Vukovians), saw several modified editions. This grammar book (to be exact, its first edition) was approved as a textbook by the Royal Hungarian Ministry of Worship and Education and awarded by the same institution in 1889. Eventually, the grammar was nevertheless negatively reviewed in Nastavni vjesnik, the official gazette of the same Ministry, which had previously awarded the grammar, and was almost equally evaluated by some Hungarian sources at the beginning of the 20th century.The criticism mostly concerns the grammar’s metalanguage (Croatian), deriving incorrect rules, and its unsystematic format (according to certain critics), and Bojničić himself was criticized for his deficient philological education. This is exactly the reason why those critics, amongst other things, describe it as a handbook inadequate for school use. Of the four above-mentioned editions of the grammar – although the consulted Croatian and Hungarian sources do not explicitly state exactly how many editions the grammar had – only the first edition received the above-mentioned philological evaluation, and the author made some corrections in the later editions of his grammar book.This paper compares the four editions of Bojničić’s grammar, identifies linguistic, terminological, and lexical changes in its source language (Croatian), and examines the extent to which they had been motivated by the published criticism and the extent to which the change of philological schools is reflected in individual editions. Within the interpretation of the changes made in the different editions, linguistic features characteristic of the norm of the Zagreb philological school are highlighted, in an attempt to corroborate the fact that these features are present in all four editions of the grammar irrespective of the time of their publication as well as the linguistic-political circumstances and influences under which they came into existence.Ultimately, the present paper seeks to confirm the (un)justification of the negative reception the grammar had in a part of the philological public of its time. In other words, we seek to answer the question of whether Bojničić is to be given the epithet of an author whose work – including his grammar – is to a certain extent not professionally grounded, or, regardless of his education and the criticism toward his work, he has to be given credit for his indisputable contribution to the field of Croatian–Hungarian grammaticography.
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Høirup, Henning. "Nekrolog over Uffe Hansen." Grundtvig-Studier 46, no. 1 (January 1, 1995): 18–25. http://dx.doi.org/10.7146/grs.v46i1.16174.

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Uffe Hansen 14.12. 1894 - 11.9. 1994By Henning HøirupThe obituary begins with a description of Uffe Hansen’s background as an Independent Congregation clergyman (from 1925) to the Grundtvigian Independent Congregation (Danish valgmenighed, i.e. a congregation within the National Church, claiming the right to employ their own minister) of Ubberup, where the prominent clergymen V.J.Hoff and Carl Koch were his predecessors. Carl Koch’s extensive writings, theologically erudite, but .popular. in their language, and thus accessible to the layman, were to become the model for Uffe Hansen’s studies in Grundtvig’s hymnwriting. Through his membership of the Hymn Book Commission of the free Grundtvigian congregations (HYMNS. Independent Congregations and Free Church Congregations, 1935), Uffe Hansen was motivated to realize his plan of a complete account of the whole of Grundtvig’s hymn writing in the book Grundtvig’s Hymn Writing. Its History and Content I. 1810-1837, published in 1937. In the following years Uffe Hansen was absorbed in organizational work (Grundtvigian Convent, the »No More War« organization) and by his membership of the Grundtvigian Hymn Book Committee (The Danish Hymn Book. A Grundtvigian Proposal, 1944). In the 1940s efforts were made to unite the hymn tradition of the re-united Southern Jutland with the traditions of the Kingdom, i.e. the old Danish treasury of hymns and the Grundtvigian hymns. Uffe Hansen became a member of the Hymn Book Commission which published the proposal The Danish Hymn Book in 1951. More than anybody else, Uffe Hansen is responsible for the large number of Grundtvig hymns in this proposal, often with verses from the original versions of the hymns added to them. In spite of vehement criticism on this point The Danish Hymn Book was authorized in 1953. Grundtvig remained the predominant contributor, even though significant Grundtvig hymns, expressing his church view, were omitted, much to Uffe Hansen’s regret. The Hymn Book includes Uffe Hansen’s own translation of the Latin antiphone Oh, Grant Us Peace, Our Lord. While this debate was going on, the continuation of Uffe Hansen’s work, Grundtvig9s Hymn Writing II. 1837-1850 appeared in 1951, an important contribution to a comprehensive interpretation of Grundtvig’s work to renew the Danish hymnody. However, Uffe Hansen’s main achievement as a hymn researcher was his work as a co-editor of Grundtvig’s Song-Work I-VI, 1944-1964. This new edition was worked out on scientific principles, and the hymns were brought in chronological order, as far as it was possible. The edition included a critical variant apparatus, compiled by Uffe Hansen. Concurrently with this work, Uffe Hansen participated in the compilation of a Register of Grundtvig’s Posthumous Papers 1-IXXX, 1956-1964, and, while engaged on this, found several hitherto unknown hymns, which were included in the new edition of the Song-Work.Here Uffe Hansen’s abilities as a researcher and scholar were amply demonstrated. Then, in 1966, came his finalwork, Grundtvig’s Hymn Writing III. 1851-1872, which, like the other volumes, testify to Uffe Hansen’s talent for combining erudition with easy comprehensibility. In his last years Uffe Hansen lived in Holland; he was laid to rest from the Independent Congregation Church of Ubberup.
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A. Almabrouk, Najah. "Understanding Derrida’s “Structure, Sign, and Play”." English Language Teaching and Linguistics Studies 2, no. 4 (November 14, 2020): p43. http://dx.doi.org/10.22158/eltls.v2n4p43.

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Deconstruction, a philosophical post-structural theory derived mainly from the work of the French philosopher Jacques Derrida, has evoked a great controversial debate over the past few decades. Promoting a sophisticated philosophical view of literary criticism, deconstruction has always been a complicated topic to comprehend especially for students and novice researchers in the field of literary criticism. This article review paper attempts to present an explanation of the main notions of the theory by reviewing one of Derrida’s most influencing articles on critical theory: “Structure, Sign, and Play in the Discourse of the Human Sciences”. The article which marked the birth of post-structuralism theory, was first delivered in 1966 at John Hopkins International Colloquium on “The Language of Criticism and the Sciences of Man”. This seminal work of Derrida criticizes structuralism for the great importance given to centralism and binary oppositions for the sake of accessing meaning. It can be claimed that the article sums up his ideas on deconstruction which in fact attacks all notions of center, totality and origin. Deconstruction is perceived as a method of breaking down and analyzing text in an attempt to approach some new interpretations which might be totally different from any other previous ones.
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Dissertations / Theses on the topic "1889-1966 Criticism and interpretation"

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Lozowy, Eric. "Le réseau intertextuel dans le poème Primorskij Park Pobedy d'Anna Axmatova /." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60563.

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Axmatova wrote the poem Primorskij park Pobedy in 1950 for Slava miru, a collection of verses that glorified Stalin. This poem was included in all her books that were published before her death (1966), apparently to please her censors. A few specialists that are trying today to establish a canonical and definitive version of her poetical works believe that Primorskij park Pobedy cannot be treated as a real Axmatova poem. The exclusion of a "parasitical" element seems unjustified if we conceive Axmatova's poetical works not as a complete Book, that is a definite and homogenous whole, but as a variable unity with undetermined limits.
When we read Primorskij park Pobedy through an intertextual network, the superficial meaning of the poem cracks and collapses. The text becomes open: under a trivial and official meaning is concealed an infinity of possible meanings. Our thesis explores this polysemy by showing how Axmatova's poem can generate a system of intertextual relations.
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David, Lucie. "La fortune critique de Paul Morin, 1908-1958 /." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56946.

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The poetical works of Paul Morin are not very well known, and are rarely ever read today. And yet, he was the successor of Emile Nelligan and Albert Lozeau. Paul Morin is one of the first French Canadians to publish his works in France and it was said of his collection of poems Le Paon d'email that it was the spark that ignited the famous "Querelle des regionalistes et des exotiques" in French Canada. Unfortunately, the negative reactions of some of his first critics, were to determine for a long time those of future generations.
This thesis focuses on the critical reception of Paul Morin's first two published books: Le Paon d'email (1911) and Poemes de cendre et d'or (1922), and attempts as well to retrace their critical fortunes up until the beginning of the sixties.
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Cunningham, Thomas Robert. "The continuity of Wittgenstein's critical meta-philosophy." Thesis, University of Stirling, 2008. http://hdl.handle.net/1893/1055.

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This thesis investigates the continuity of Wittgenstein’s approach to, and conception of, philosophy. Part One examines the rule-following passages of the Philosophical Investigations. I argue that Wittgenstein’s remarks can only be read as interesting and coherent if we see him, as urged by prominent commentators, resisting the possibility of a certain ‘sideways-on’ perspective. There is real difficulty, however, in ascertaining what the resulting Wittgensteinian position is: whether it is position structurally analogous with Kant’s distinction between empirical realism and transcendental idealism, or whether philosophical ‘therapy’ is meant to dissolve any drive towards such idealism. I argue that both of these readings of Wittgenstein are found in the work of McDowell. Part Two argues that related issues arise in respect to the Tractatus Logico-Philosophicus and the question of realism. In the Tractatus Wittgenstein rejects the possibility of a certain ‘sideways-on’ perspective. Again, I argue, it is unclear whether Wittgenstein embraces a form of transcendental idealism or, on the contrary, ultimately reveals the idealist position to be empty. Part Three connects ‘sideways-on’ glances with the threat of idealism by introducing a philosophical ‘measure’. I argue that the measure is a useful tool in assessment of the Tractatus, and shows that Wittgenstein was no idealist, but is less useful as an assessment of the Investigations. It yields the result that Wittgenstein succumbed to idealism, but in doing so may overlook the ‘therapeutic’ nature of Wittgenstein’s later philosophy.
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Epp, Michael Henry. "Saving Cruiskeen Lawn, satirical parody in the novels and journalism of Flann O'Brien, Myles na gCopaleen." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0023/MQ50512.pdf.

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Koopmann, Jean-Philippe. "Interprétation des lieux dans cinq oeuvres en prose d'André Breton." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26740.

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This Master's thesis proposes to examine the place of space in five works by Andre Breton which are: Nadja (1928); Les Vases communicants (1932); L'Amour fou (1937); Arcane 17 (1945); Martinique charmeuse de serpents (1948). The first chapter of this thesis deals with the problem of space and its definitions through a sequence of seven authors who propose different perspectives. The second chapter explores the literary, the imaginary and the textual spaces in the aforementionned works while taking into account numerous surrealist concepts proposed by Breton.
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Murray, Jessica. ""Notes for the Manual Assembly"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157616/.

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A collection of poems that seeks the balance between imagination and reality that Wallace Stevens calls for in art, with a preface exploring Elaine Scarry's On Beauty and Being Just through the work of two contemporary poets.
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Prpić, Maya. "Jean Cocteau : la morale du poète." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59382.

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The work of Jean Cocteau (1889-1963), the poet, while extremely diverse, presents nonetheless a coherence and a unity of tone which transmit his artistic vision and at the same time reveal his creative process.
Three works in particular, Opium--Journal d'une desintoxication, La difficulte d'etre et le Journal d'un inconnu, permit us to retrace his poetic course.
Cocteau's art rests on the notion he has of poetry. With the help of the example set by Erik Satie, Raymond Radiguet and Pablo Picasso, he understood at an early age that poetry resided within him and that only by exploring himself and by following a set of morals--in this instance, morals signifies behaviour which conforms to the demands of poetry--would he attain a level of pure poetry.
All of this is evident as much in the ideas the poet conveys as in his style. The personality of the poet, his "ligne" to use Cocteau's words, becomes apparent the more the idea is accurate and the word chosen significant. As a result of this "ligne", of its presence in the work, the poet approaches immortality.
According to Cocteau, the work of a poet cannot flourish within human limits. The poet must transcend such limits to embody universal activity. It is for this reason that the poet must redefine religion and create for himself a personal mythology, that he must reconstruct the world starting from a play of spatial and temporal perspectives. His role thus proves essential to human survival. In effect, the poet fills the cosmic void in which man is evolving.
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Dicks, Henry. "Being and earth : an ecological criticism of late twentieth-century French thought." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669967.

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Jennings, Maude M. J. "Studies in the poetry : the prosody and the poetic theory of Gerard Manley Hopkins." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/473721.

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This dissertation studies the prosody, poetic theory, theme, and affective nature found in the poetry of Gerard Manley Hopkins. The prosody, striking in his time, is still controversial; the theory employs the rhetorical principle of parallelism extensively, and the theme (which is the reason for the affective nature of his work) deals always with Christ: Christ in nature and Christ in man.The study lays emphasis on Hopkins' religious vision. These insights pervade all his work and are prime factors in his poetry. The vision gained from his religion appears throughout all his work.Although recent critics have suggested that the material of his great ode, "The Wreck of the Deutschland" was "recalcitrant" and that his symmetry was "laboured," explication of the poem reveals his early intense voice, sprung rhythm, and his use of the techniques of cynghanedd and dysfalu. His prosody reveals his sense of parallel structure (noted in his art work and in his journals as symmetry) which increased with "number and distinctiveness" with the rise of passion.His "dark night," noted in the sonnets written during 1884-85, have caused some readers to suspect a crisis of faith occurring. Hopkins experienced trauma, but the prolonged depression suggested by the present numbering of the sonnets is inconsistent with his unquestioned faith. The night becomes less dark if chronology is followed.Hopkins' deepest message was delivered in his poetry and throughout his life. As a Catholic priest, teacher, and poet, he sought Christ. Common knowledge informs us that emotional and physical hardships follow such seekers. Teilhard de Chardin's philosophy as ennobling is certainly applicable to any study of Hopkins' life and works. This philosophy provides supplementary confirmation of the poet. Hopkins' achievements surpass the prescriptive condemners of his art.
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Galvin, Terrance. "Gravity and light : looking through the architecture of Jean Cocteau." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60066.

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The thesis examines a select amount of poesie by the artist Jean Cocteau, and through interpretation, explores the architecture of his work. This process of interpretation poses two questions: What is the role of the architect today, compared with his role as understood throughout history? How does the production of architecture today reflect the mechanisms of capitalism with its division of knowledge and labour, compared with an architecture which is inclusive and reconciliatory?
A clear message emerges from Cocteau's Poesie as a response to the two aspects of Orpheus: the first is represented by the processes of individual creativity, and the second by the collective realization of a project, whether it be a work of theatre, the production of a film, or the design and realization of a building.
A work does not end in handing it over for someone else to finish.
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Books on the topic "1889-1966 Criticism and interpretation"

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Muravʹeva, Irina. Anna Akhmatova, 1889-1966: Biograficheskiĭ ocherk. Sankt-Peterburg: Akt︠s︡ionernoe obshchestvo "Arsis", 1998.

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Polanowski, Edward. Maria Dąbrowska: 1889-1965. Wrocław: Zakład Narodowy im. Ossolińskich, 1990.

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Rosa Chacel (1889-1994). Madrid: Ediciones del Orto, 2002.

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1940-, Adriani Götz, and Institut für Auslandsbeziehungen, eds. Collages, Hannah Höch, 1889-1978. Stuttgart: The Institute, 1985.

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Vera Mukhina: 1889-1953. Sankt-Peterburg: Palace Editions, 2009.

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Niccolò Castiglioni, 1950-1966. Lucca: Libreria musicale italiana, 2006.

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Kristanell, Roland. Alois Kùperion (1891-1966). Schlanders: Arunda, 1989.

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Aika Pariisissa: Juhani Ahon ranskalainen kausi 1889-1890. Helsinki: Suomalaisen Kirjallisuuden Seura, 2002.

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Ackerman, Gretchen P. Ibsen and the English stage, 1889-1903. New York: Garland Pub., 1987.

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Sirén, J. S. J.S. Sirén, 1889-1961, arkkitehti. Edited by Blomstedt Severi and Suomen Rakennustaiteen Museo. Helsinki: [Suomen Rakennustaiteen Museo], 1989.

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Book chapters on the topic "1889-1966 Criticism and interpretation"

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Scullion, Scott. "‘The road of excess’." In Rediscovering E. R. Dodds, 128–48. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198777366.003.0006.

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This chapter addresses E.R. Dodds’s papers on Greek tragedy. Despite everything that can be said in criticism of Dodds’s Bacchae, the book is a compelling masterpiece of classical scholarship. Its shortcomings all have to do with his approach to ‘the Dionysiac’. However, Dodds’s vision is fundamental to the reception of his work: its impact on readers, within and beyond the academy, is a cultural fact independent of the validity of his treatment of any particular work, phenomenon, or body of evidence. The chapter then considers Dodds’s 1960 article on the Oresteia and another article on Oedipus Rex. By both ancient and modern reckoning, Sophocles’ Oedipus Rex is among the greatest of Greek tragedies, and what would perhaps be generally acknowledged as the most satisfying interpretation of it was given by Dodds in his 1966 article ‘On Misunderstanding the Oedipus Rex’, his final contribution to the study of Greek tragedy.
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"clash between the beauty-loving Renaissance and the he [Spenser] was quickly swept overboard because of moral Reformation. In the light of the medieval reli-his inability to write like Donne, Eliot, and Allen gious tradition examined by Tuve, Guyon destroys Tate’ (1968:2). His extended interpretation of Book the Bower because he ‘looks at the kind of complete II, The Allegorical Temper (1957), followed by essays seduction which means the final death of the soul’ on the other books, traces the changing psycholo-(31). gical or psychic development of the poem’s major If the New Critics of the 1930s to the early 1950s characters by ‘reading the poem as a poem’ (9) rather had been interested in Spenser (few were), they than as a historical document. My own book, The would not have considered his intention in writing Structure of Allegory in ‘The Faerie Queene’ (1961a), The Faerie Queene because that topic had been dis-which I regard now as the work of a historical critic missed as a fallacy. For Wimsatt and Beardsley partly rehabilitated by myth and archetypal criticism, 1954:5 (first proclaimed in 1946), ‘The poem is not examines the poem’s structure through its patterns the critic’s own and not the author’s (it is detached of imagery, an interest shared with Alastair Fowler, from the author at birth and goes about the world Spenser and the Numbers of Time (1964), and by beyond his power to intend about it or control it)’. Kathleen Williams, Spenser’s ‘Faerie Queene’: The So much for any poet’s intention, conscious or World of Glass (1966). unconscious, realized or not. Not that it would have In any history of modern Spenser criticism – for a mattered much, for the arbiter of taste at that time, general account, see Hadfield 1996b – Berger may T.S. Eliot, had asked rhetorically: ‘who, except schol-serve as a key transitional figure. In a retrospective ars, and except the eccentric few who are born with glance at his essays on Spenser written from 1958 to a sympathy for such work, or others who have delib-1987, he acknowledges that ‘I still consider myself erately studied themselves into the right apprecia-a New Critic, even an old-fashioned one’ who tion, can now read through the whole of The Faerie has been ‘reconstructed’ by New Historicism Queene with delight?’ (1932:443). In Two Letters, (1989:208). In Berger 1988:453–56, he offers a per-Spenser acknowledges that the gods had given him sonal account of his change, admitting that as a New the gift to delight but never to be useful (Dii mihi, Critic he had been interested ‘in exploring complex dulce diu dederant: verùm vtile numquam), though representations of ethico-psychological patterns’ he wishes they had; and, in the Letter to Raleigh, he apart from ‘the institutional structures and discourses recognizes that the general end of his poem could be that give them historical specificity’. Even so, he had achieved only through fiction, which ‘the most part allowed that earlier historical study, which had been of men delight to read, rather for variety of matter, concerned with ‘historical specificity’, was ‘solid and then for profite of the ensample’ (10). As a conse-important’. For the New Historicist Louis Adrian quence, he addresses his readers not by teaching them Montrose, however, earlier historical scholarship didactically but rather through delight. It follows that ‘merely impoverished the text’ (Berger 1988:8), and if his poem does not delight, it remains a closed book. he is almost as harsh towards Berger himself, com-Several critics who first flourished in the 1950s and plaining that his writings ‘have tended to avoid direct 1960s responded initially to Spenser’s words and confrontations of sociopolitical issues’, though he imagery rather than to his ideas, thought, or histor-blames ‘the absence of a historically specific socio-ical context. One is Donald Cheney, who, in Spenser’s political dimension’ on the time they were written – Image of Nature (1966), read The Faerie Queene a time when ‘the sociopolitical study of Spenser was ‘under the intensive scrutiny which has been applied epitomized by the pursuit of topical identifications or in recent decades to metaphysical lyrics’, seeking the cataloguing of commonplaces’ (7). In contrast, out ‘ironic, discordant impulses’, ‘rapidly shifting the New Historicism, of which he is the most elo-allusions’, and the poet’s ‘constant insistence upon quent theorist, sees a work embedded – i.e. intrins-the ambiguity of his images’ (7, 17, 20). Another is ically, inextricably fixed – not in history generally, Paul Alpers, whose The Poetry of ‘The Faerie Queene’ and certainly not in ‘cosmic politics’ that Thomas (1967) demonstrated that individual stanzas of the Greene 1963:406 claims to be the concern of all epics, poem may be subjected to very intense scrutiny. A but in a historically specific sociopolitical context. third, the most influential of all, is Harry Berger, Jr, (For further comments on their clash, see Hamilton." In Spenser: The Faerie Queene, 25. Routledge, 2014. http://dx.doi.org/10.4324/9781315834696-23.

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