Academic literature on the topic '1889-1978 Criticism and interpretation'

Penelitian ini bertujuan untuk memperoleh gambaran tentang adat istiadat yang ada pada masyarakat Dusun Kuta, dan bagaimana peran keluarga dalam mensosialisasikan kepada anggota keluarganya. Metode penelitian ini adalah metode kualitatif serta penemuan kuantitatif yang mendukung. Selanjutnya data diinterpretasi, sehingga menghasilkan data deskriptif berupa kata-kata tertulis dari orang dan perilaku yang dapat diamati. Sedangkan teknik pengumpulan data menggunakan observasi dan wawancara. Hasil penelitian menunjukan dalam proses sosialisasi adat istiadat, keluarga memegang peranan yang amat penting, karena melalaui keluarga inilah anak-anak mengalami proses sosialisasi yang pertama dan mendasari semua proses sosialisasi lebih lanjut. Ibu, bapak mengajari anak-anaknya tentang sikap dan perilaku yang baik menurut adat dan harus dilakukan serta sikap dan perilaku yang tidak boleh dilakukan karena bertentangan dengan adat. Adat istiadat Dusun Kuta yang disosialisasikan itu, antara lain: perilaku dalam hidupan sehari-hari, pekerjaan dalam mencari/mendapatkan nafkah, bentuk dan bahan yang digunakan dalam pembuatan rumah, syarat dan tatacara penentuan kuncen, larangan-larangan dan keharusan-keharusan yang berkaitan dengan keberadaan tempat-tempat yang dianggap keramat.Zakat, infaq and sadaqah have been known and carried out by Muslims for a long time. Along with the times in managing zakat, infaq and sadaqah experienced changes and developments. The method used in this study is a historical method consisting of topic selection, heuristics, namely; data collection consisting of primary data sources and secondary data sources, verification, namely; historical criticism or the validity of the source by means of internal criticism and external criticism, interpretation of data namely; interpretation of data that has been verified, and historiography, namely; write down the results of the study. The results of this study indicate that in the management of zakat, infaq, and sadaqah there are changes and developments. In the history of its development starting from traditional and now there are institutions that manage zakat, infaq, and sadaqah in a professional manner, in terms of management, which are initially consumptive but now more productive, and changes in social values from the implementation of zakat, infaq and shadaqah (muzakki) can better know the condition of the mustahik (zakat recipients). Whereas institutionally tend to only carry out obligations.

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.

The purpose of the research is to explain the biography and describe the values of the biography of H. Abdul Azis. Next, describe the efforts to make the values of the biography of H. Abdul Azis as a source of social studies learning. The research uses historical methods, with heuristics, criticism, interpretation and historiography stages. Collecting oral sources, written sources and sources of past relics, then critiqued and interpreted to produce historical writings. The results showed that Abdul Aziz was born in Telaga Silaba Village, Hulu Sungai Utara, December 31, 1936. He graduated from SMPN Part A Amuntai, Hulu Sungai Utara (HSU). He served as Mantri Pamong in the 1950s, then Camat of Sungai Turak (1962), Panggang Lake (1965) and Paringin (1968). Head of the Regional Secretariat Government Division to the Chairman of the Regional Legislative Council II HSU (1968-1978). Barito Kuala Regent for two periods 1978-1983 and 1978-1983. Died in Banjarmasin, January 13, 1987. H. Abdul Azis had the values of discipline, hard work, responsibility and social care that supported him, so he was successful as a government official and managed to raise a family. The values from the biography of H. Abdul Azis can be used as a source of social studies learning by integrating them in the syllabus and lesson plans for IPS for SMP/MTs Class IX. The conclusion of the study is that from the biography of H. Abdul azis, there are four main biographical values, namely the value of discipline, hard work, responsibility and social care that can be used as sources for social studies learning.

This study discusses the origin, change and continuity as well as the factors causing the study of the Qur'an at An-Nur Ngrukem Islamic Boarding School. It is qualitative research oriented towards literature study and oral history. The approach used is historical with heuristic methods, source criticism, interpretation and historiography. The results of the study, namely the study of the Qur'an at the An-Nur Ngrukem Islamic boarding school from 1978 AD to 2018 AD, did not change much. At the beginning of the establishment of the An-Nur Ngrukem Islamic boarding school, there was only a study of tahsin (qir?'ah Ashim) and tahfid then a study of commentaries and other classical books such as the Madrasah Diniyah Al-Furqon. The teaching system, facilities and infrastructure developed and the An-Nur Qur'an Education Park (TPQ) institution was established which was devoted to the children of the Ngrukem hamlet and its surroundings using the yanbu'a method. And the pioneering of qir?'ah sab'ah guidance for students who have memorized 30 juz. This was followed by the establishment of educational institutions to support the formal education of the students.

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.

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.

Kiril Vasilev was born on 23rd May 1918 and died in 2014 in Sofia. In 1938 he was a member of the Bulgarian Communist Party (BCP). During the Second World War he was a partisan in the Second Rhodope Brigade ‘”Vasil Kolarov”. Kiril Vasilev attended major Thompson from Greece to Bulgaria. After 9th September 1944 he was one of the main opponents against the organization “Friendship Motherland”, which tried to change names of the Bulgarians, who professed the Islam.Kiril Vasilev studied Philosophy at Sofia University. He was a lecturer at the University and read lectures on Historical Materialism. He was a head of the department of “Dialectical and Historical Materialism”. Kiril Vasilev laid the foundations of the Empiric Sociology in Bulgaria.Kiril Vasilev was not a conformist. He came into conflict with many leaders of the BCP. His clashes with Todor Zhivkov were frequent. He leveled criticism at all existing political models. Kiril Vasilev was not flattering in his interpretation on present-day political, economical, and social data, too. The special features of Kiril Vasilev`s character, his direct statement, and his experience give us an additional clearness in relation to the fate of his book. The monograph, according to his own words, was written about 1978, but it was accessible to the reading public only in 2008. In this work we can notice some inconvenient ideas, for the sake of that this book probably cames off the press approximately 30 years later.

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

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.

What follows is a list — covering items published between 1900 and 1986 — of serious accounts of the history of important architectural projects undertaken in Ireland between the late seventeenth and early twentieth centuries. It is intended to be comprehensive in respect of monographs, collective works and articles in non-Irish periodicals, but in respect of Irish periodicals it is a supplement to Richard J. Hayes, Sources for the history of Irish civilisation: articles in Irish periodicals (9 vols, Boston, 1970). None of the above definitions is rigidly adhered to: much is included which falls outside their limits, but an attempt has been made to include everything that falls within them. The following have not been comprehensively included: (1) Monographs on non-resident architects whose careers, notwithstanding Irish commissions, were mainly abroad, e.g. Robert Adam, G.E. Street, Edwin Lutyens. This is partly because such architects are so numerous (there is evidence of over a hundred British architects having professional contacts with Ireland between 1750 and 1850) and partly because they are already well served bibliographically, e.g. by Howard Colvin, A biographical dictionary of British architects, 1600–1840 (London, 1978); (2) studies of the foreign careers of Irish architects, e.g. James Hoban, Eileen Gray; (3) studies of vernacular architecture (but see entry under this heading in the index); (4) contemporary reviews or criticism of buildings; (5) reviews of books; (6) printed primary sources, such as J.T. Gilbert, Calendar of ancient records of Dublin… (19 vols, Dublin, 1889–1944).

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.

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.

While focussing on the metaphor of scientificity in Leavis's and Macherey's writings, this dissertation addresses other questions central to criticism, cultural theory, and the philosophy of science. Whereas Leavis opposes scientificity, Macherey proposes "scientific criticism" as imperative to theoretical practice. Between the two critics, scientificity reveals its major metamorphoses. This study is divided into four major parts. Part One situates the concept of scientificity in the modern debate between critics and philosophers of science. I compare their problematization of scientificity to the way this notion has been represented in literary criticism. The debate blurs the boundary between scientific and literary knowledge, and brings the question of ideology in scientific discourse to the fore. Scientificity is thus bound with ideology as an epistemological practice. Part two focusses on Leavis's rejection of scientificity. In three chapters here I investigate the significance of Leavis's definition of "organic culture," "civilization," "science," and "criticism." These are all rooted in Arnold's cultural paradigm, which privileges a traditional order. Leavis's opposition to "theory," "science," and "philosophy" problematizes his principles of "precision," "analysis," and "standards." His controversies with CP. Snow's scientism and with Marxism reveal his concern with theory and scientific epistemology. His defence of "ambiguity," and "impossibility of definition" also makes his framework confront a theoretical impasse that is revealed by a desire to theorize criticism—Leavis's duty towards society— and a fear of theory and science, perceived as destructive. Part Three, comprising three chapter, considers Macherey's scientific criticism. His notions of the "structure of absence" and "symptomatic reading" are central to his theorization of criticism, science, and ideology. These are formulated through Freud's categories of dream analysis, Saussure's notion of difference, and Althusser's conception of ideology. For Macherey, scientific criticism negates ideology. But his emphasis on "absence" as constitutive of scientificity brings his epistemology to a theoretical impasse that resembles Leavis's. Macherey's anchoring of meaning in economic structures, in ideology, and in Marxism as "science," problematizes his scientific project because it abandons "absence." Part Four concludes the dissertation by investigating ways in which Leavis and Macherey illustrate the importance of an epistemological phenomenon in literary studies: criticism's struggle with scientificity. Whether opposed or defended, scientificity has helped criticism to emulate the hegemonic discourse of science and to combat rival critical strategies. However, to dispel "scientific" delusions, criticism must scrutinize its affiliation with ideology both in scientific method and in theory.
Arts, Faculty of
English, Department of
Graduate

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.

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.

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.

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.