Relevant bibliographies by topics / 1890-1964 Criticism and interpretation

Academic literature on the topic '1890-1964 Criticism and interpretation'

Author: Grafiati
Published: 10 December 2022
Last updated: 30 January 2023

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Journal articles on the topic "1890-1964 Criticism and interpretation"

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Abidin, Sainal. "Andi Selle dalam Pergolakan Bersenjata di Sulawesi Selatan (1950-1964)." Yupa: Historical Studies Journal 1, no. 1 (August 11, 2017): 26. http://dx.doi.org/10.26523/yupa.v1i1.16.

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This paper describes the background, role and impact of the involvement of Andi Selle in the throes of armed in South Sulawesi. This research is both a descriptive analysis using historical methods, through stages: heuristic, interpretation, criticism, and historiography. The involvement of Andi Selle in the throes of armed internal conflict caused by the TNI in the body. Armed upheaval since before independence until the period of independence Andi Selle was involved in a series of conflicts with some of the parties. The upheaval affect ethnic hatred caused his soldiers are considered acts of violence hurt the people's Rail, as well as the monopoly of trade in the region.
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Susilo, Susilo, and Angelia Rantya Apriliawati Suryaningsih. "MONAS SEBAGAI SIMBOL PERJUANGAN BANGSA INDONESIA." Kepariwisataan: Jurnal Ilmiah 9, no. 03 (September 30, 2015): 55–78. http://dx.doi.org/10.47256/kepariwisataan.v9i03.139.

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The National Monument is a national symbol to symbol of Jakarta Year 1953-1975. The issues presented in this report is how the historical background of the emergence of the idea or the idea of building the National Monument in Jakarta, and the realization of the construction of the National Monument as a national symbol of Indonesia in transit, and Soekarno role in the development of the National Monument. Also discussed is the view of society in defining post-construction National Monument National Monument. Using the method of writing a critical history that includes four steps namely the collection of primary and secondary sources, which consists of source criticism eksteren criticism and internal criticism that has authenticity and credible source. Interpretation of facts and events of the last re-writing of history by descriptive analysis. After National Monument formed physically, then in 1964 the Government of Andhra Pradesh to use National Monument as part of a symbol of the city. This turned out to cause a shift in the meaning of the National Monument. Society no longer interpret the National Monument as a national symbol but as a symbol of the city. The shift is happening is the meaning of the National Monument became a symbol of the national symbol of the city. Keywords: National Monument,Tourism Spot, Jakarta City
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Mahyudin, Arista, and Syahrun, Suharni Sudin. "PERKEMBANGAN PEREKONOMIAN MASYARAKAT BUGIS DI KELURAHAN MOLAWE KECAMATAN MOLAWE KABUPATEN KONAWE UTARA: 1964-2016." Journal Idea of History 2, no. 2 (December 27, 2019): 64–76. http://dx.doi.org/10.33772/history.v2i2.865.

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This study discussed the migration of Bugis Community at Molawe Village. The migration was caused by political turmoil in its native region, Bone. After arriving in Molawe, the Bugis community struggled to survive and survive through several phases. The problems examined in this study were: (1) what were the characterictics of the Bugis community in the economy of Molawe Village, (2) what factors which support the development of the economic life of the Bugis community in Molawe Village. The method used in this study was the historical method with the following stages: 1) Topic selection, 2) Collection of sources), 3) Source criticism (external and internal), 4) Interpretation of sources (analysis and synthesis), 5) Historiography. The results showed that: 1) the characteristics of Bugis community in the economy at the Molawe Village were divided into two periods, namely 1964-1990 and 1990-2016.In those two periods there were significant differences in the economy of the Bugis community at Molawe, where in the period of 1964-1990 the Bugis lived with simple knowledge and skills so that their production was limited to their daily need. While the 1990-2016 period, the Bugis community had begun to use modern infrastucture in fishing and farming so that their economic income increases. 2) the economic life of the Bugis community at Molawe Village was supported by various factors such as geographic location and condition, the availability of human resources, the potential of natural resources, and the development of science and technology. Keyword: Bugis Community, Development, Economic Factors
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Susanti, Nurmalia, Nana Supriatna, and Yeni Kurniawati Sumantri. "Lekra Vs Manikebu: Perlawanan Majalah Sastra terhadap Politik Kebudayaan Pemerintah Masa Demokrasi Terpimpin (1961-1964)." FACTUM: Jurnal Sejarah dan Pendidikan Sejarah 8, no. 1 (September 23, 2019): 97–112. http://dx.doi.org/10.17509/factum.v8i1.20121.

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This research emerged from the author’s interest in cultural magazines’ involvement regarding a political situation in Indonesia. The main problem discussed “how was the Sastra magazine’s resistance against cultural politics of the Leaded Democracy periodin 1961-1964?” The main problem elaborated into four research questions, namely: (1) how was the background of Sastra magazine’s publication?; (2) how was the culture concept from Sastra magazine’s perspective?; (3) how was the Sastra magazine’s efforts to defended its perspective in addressing anti-mainstream cultural concepts?;and (4) how was the impact received by the Sastra magazine due to maintaining the anti-mainstream cultural concept?. The method used in this study is the historical method which is divided into four stages, such as heuristics, criticism, interpretation, and historiography. Based on the study, it can be explained that Sastra published in 1961 was a continuation of Kisah, the publication of this magazine has acted as aneffort to provide good reading for the community. In its development, Sastra has its own view of the cultural concept of the Leaded Democracy era, that Indonesian culture is an honest culture that was born from the conscience of the people based on humanity, not based on the slogans of party interests. That was considered not following the spirit of revolution that had not been completed at the time, which led to attacks from various parties, especially from the Lekra. Sastra maintained its stance, one of which was through its involvement in the Manifes Kebudayaan, which was a statement of a group of artists regarding Indonesia’s national culture. But not even a year, theManifes Kebudayaan declared forbidden by President Sukarno because he considered competing with the Indonesian Political Manifesto. The prohibition statement became a trigger for Sastra to disappear from circulation because it was labelled as a tool for the reactionaries.
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Puspita Sari, Endah, Leo Agung Sutimin, and Akhmad Arif Musadad. "NYAI SUTARTINAH'S NATIONALISM BASED ON PSYCHOHISTORY APPROACH." International Journal of Education and Social Science Research 05, no. 06 (2022): 296–306. http://dx.doi.org/10.37500/ijessr.2022.5623.

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Ethical politics is a response from the Netherlands to Indonesia, which has filled its cash void. There are three moral politics programs: education, irrigation, and emigration. The field of education is very influential because it can give birth to a specific group. They are aware of the gap between their people and the colonial. A fighting organization was born and dominated by men, resulting in a women's organization. The research method used in this journal is the theme of Nyai Sutartinah; heuristics are carried out on books and journals, source criticism is carried out by reading these sources to find credible data; interpretation processes sources into writing data, and historiography, writing about Nyai Sutartinah's nationalism with a psychohistorical approach. Psychohistory is part of psychoanalysis that studies a person's behaviour in the past and its influence on an attitude. The attitude to be learned is nationalism. Nationalism is an identity of a unified group regardless of language, ethnicity and religion. The figure of Nyai Sutartinah is the subject of this research. He is a descendant of the Pakualaman palace and was born in 1890. Since childhood, he has received an education. Seeing the education inequality for women around him, he and Ki Hadjar Dewantara founded an educational institution called Wanita Taman Siswa. Apart from that, another struggle is being involved in the women's congress in Yogyakarta.
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Boltwood, Scott. "‘Mildly Eccentric’: Brian Friel's Writings for the Irish Times and the New Yorker." Irish University Review 44, no. 2 (November 2014): 305–22. http://dx.doi.org/10.3366/iur.2014.0126.

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The conventional view of Brian Friel's career portrays him as a struggling writer whose first stories appeared in the New Yorker in late 1959. After briefly producing a small body of finely crafted, albeit conventional, short stories, he devoted himself to writing plays full-time after the phenomenal success of Philadelphia, Here I Come! (1964). This traditional interpretation of Friel's career also relies upon the assertion that the young writer also turned away from prose because of his inability to break free of the genre's constricting conventions, which were imposed both by foreign editors demanding nostalgic portrayals of rural Ireland and, as first argued by Ulf Dantanus, by Friel's own ‘failure to free himself’ from the influence of Frank O'Connor. This article challenges our view of Friel's early career in several ways. First and foremost, it uncovers a trove of seventy six previously unknown ‘essay/stories’ that he wrote for The Irish Times between September 1957 and May 1962, short experimental pieces that force the reader to question her/his assumptions about the form and content of Friel's early career. Second, when contextualized among his uncollected stories for the New Yorker and the Irish Press, we recognize a radically different story writer than previously described in the criticism.
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Vasic, Aleksandar. "Literature on music in the Southslavic Choral Union Herald (1935-1938)." Muzikologija, no. 21 (2016): 185–200. http://dx.doi.org/10.2298/muz1621185v.

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During 1935, 1936. and 1938, in Belgrade was published a monthly magazine The Southslavic Choral Union Herald [Vesnik Juznoslovenskog pevackog saveza]. Three years represent 16 issues or 119 articles, or 216 pages. The first editor was Milenko Zivkovic (1901-1964), a Serbian composer of the younger generation, the chief secretary of the Southslavic Choral Union. The magazine was conceived as a newsletter. Choral societies, members of the South Slavic Choral Association, were given the opportunity to stay informed about the work of the Union and the activities of choral societies throughout the Kingdom of Yugoslavia. Therefore, Herald published numerous news, informative articles, speeches and obituaries. However, the Herald got physiognomy of a music magazine thanks to essays on the significant figures of Serbian music (Davorin Jenko, Stevan Mokranjac), texts about the problems of choral technique and interpretation, critical reviews of sheet music, and musical criticism. These texts were written by the leading Serbian musicians of the time: Milenko Zivkovic, Branko Dragutinovic, Petar Krstic, Mihailo Vukdragovic, Miloje Milojevic and Richard Schwartz. The Herald represented the ideology of integral Yugoslavism. The assassination of Yugoslav king Alexander Karadjordjevic during his visit to Marseilles in 1934 strongly affected the Kingdom of Yugoslavia, which has long been in the political crisis. However, the Herald and the Southslavic Choral Union have remained faithful to the ideology of Yugoslavism and to King Alexander as its symbol.
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Miftakhuddin, Miftakhuddin. "Historiografi Korupsi di Indonesia: Resensi Buku Korupsi dalam Silang Sejarah Indonesia." Rihlah: Jurnal Sejarah dan Kebudayaan 7, no. 2 (December 27, 2019): 168. http://dx.doi.org/10.24252/rihlah.v7i2.11772.

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This review aims to describe the contents of the book, analyze how the book reaches its objectives, and how the author's perspective in presenting his arguments and ideas. The review was conducted by using the report method proposed by Bond (1964). Overall, this book has three weaknesses. Firstly, Carey's writings were not well-translated, so it might complicate nonscholar readers. Secondly, discussion in the first two chapters strays from the topic of "corruption". Thirdly, this book tends to more like an anthology book (it does not seem unified). However, each chapter was written objectively and comparably. In terms of the organization of its ideas, the script of Margana and Carey appears to have been written in strict rules of historical research, both heuristics, criticism, interpretation, and historiography. Moreover, in Chapter IV, the construct has written in investigative writing by former journalist, Haryadi. It will make the readers' reasoning skills more analytical, critical and anticipatory. In conclusion, this book is a worthy reference for everyone who concerns on corruption issues in Indonesia, mainly due to its incisive analysis by experts and historians.Review ini bertujuan mendeskripsikan konten buku, menganalisis bagaimana buku mencapai tujuannya, dan bagaimana perspektif penulis dalam menyajikan argumen dan gagasannya. Review dituliskan dengan report method yang diusulkan Bond (1964). Secara keseluruhan, buku ini mempunyai tiga kelemahan. Pertama, tulisan Carey tidak diterjemahkan dengan baik, sehingga mungkin akan menyulitkan pembaca umum. Kedua, pembicaraan di dua bab pertama menyimpang terlalu jauh dari “korupsi”. Ketiga, buku ini lebih seperti buku antologi, sehingga terkesan tidak menyatu. Namun demikian, setiap bab dalam buku ini ditulis secara objektif dan berimbang. Ditinjau dari organisasi ide pokoknya, teks dari Margana dan Carey tampak ditulis mengikuti kaidah riset sejarah secara ketat, baik heuristik, kritik, interpretasi, maupun historiografi. Terlebih lagi pada Bab IV yang ditulis dengan nuansa investigatif oleh mantan wartawan Haryadi, akan membuat daya nalar pembaca menjadi lebih analitis, kritis, dan antisipatif.
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Syahril, Syahril, and Anggip Wilvon. "Zainuddin Labay El Yunusy: Tokoh Pembaharuan Pendidikan Islam di Minangkabau Pada Awal Abad XX (Suatu Tinjauan Historis)." Tarikhuna: Journal of History and History Education 4, no. 2 (January 16, 2023): 174–90. http://dx.doi.org/10.15548/thje.v4i2.5655.

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This research is motivated by the reform movement of Islamic education in Minangkabau at the beginning of the 20th century carried out by Zainuddin Labay el-Yunusy which has influenced modernization in Minangkabau which has had an impact to this day. This paper discusses the efforts made by Zainuddin Labay el-Yunusy in reforming Islamic education in Minangkabau in the early 20th century. This research is a library research using historical research methods consisting of heuristics, source criticism, interpretation and historiography by collecting primary and secondary sources from the literature. Zainuddin Labay el-Yunusy was born to Sheikh Muhammad Yunus al-Khalidiyah and Rafi'ah in 1890 in the Bukit Surungan district of Padang Panjang, coinciding with the 12th Rajab 1308 H and died on July 10, 1924 AD/8 Dzulhijjah 1342 H. Since childhood Zainuddin Labay was educated by his father who was also a scholar and then entered HIS, but did not graduate because he felt that he fit into the Dutch education curriculum. Furthermore, Zainuddin Labay studied with well-known educational figures in Minangkabau such as H. Rasul and Dr. Abdullah Ahmad in Padang. Zainuddin Labay has a very important role in reforming Islamic education in Minangkabau, among other things establishing the Diniyah School by incorporating general subjects into the Islamic education curriculum, fighting for the rights of Minangkabau women to obtain education, and forming a generation of Islam in Minangkabau. The reforms carried out by Zainuddin Labay towards Islamic education in Minangkabau inspired the establishment of modern Islamic education such as Diniyah Puteri Padang Panjang, changing the halaqah education system to become classical, and producing educational media. Keywords: Renewal, Islamic Education, Minangkabau.
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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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Dissertations / Theses on the topic "1890-1964 Criticism and interpretation"

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Estrada-Berg, Victoria. "Art Criticism and the Gendering of Lee Bontecou's Art, ca. 1959 - 1964." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc5587/.

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This thesis identifies and analyzes gendering in the art writing devoted to Lee Bontecou's metal and canvas sculptures made from the 1959 - 1964. Through a careful reading of reviews and articles written about Bontecou's constructions, this thesis reconstructs the context of the art world in the United States at mid-century and investigates how cultural expectations regarding gender directed the reception of Bontecou's art, beginning in 1959 and continuing through mid-1960s. Incorporating a description of the contemporaneous cultural context with description of the constructions and an analysis of examples of primary writing, the thesis chronologically follows the evolution of a tendency in art writing to associate gender-specific motivation and interpretation to one recurring feature of Bontecou's works.
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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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Malick, Neeraj. "The politics of laughter : a study of Sean O'Casey's drama." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39493.

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This is a study of popular festive laughter in Sean O'Casey's drama. It argues that O'Casey's use of the strategies of laughter is an integral part of his political vision. The concept of festive laughter is derived from the theory of Mikhail Bakhtin, and is related, in this thesis, to the culture of low life in O'Casey's Dublin. Through a detailed analysis of O'Casey's plays, this study shows how the forms of laughter function to interrogate the hegemonic political, economic, and cultural discourses of the Irish society of his time. The Dublin trilogy counters the nationalist ideology and its constructions of history, while the later comedies focus on the issues of cultural domination and religious authoritarianism. This negative critique of the dominant order is accompanied, in these plays, by a celebration of the rich energy of popular, collective life, and its capacity to resist domination and to create an alternative society. The study concludes by focusing on the festive nature of O'Casey's theatre.
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Abramowitz, Rachel I. "Donald Barthelme and 'Not-Knowing', 1964-1987." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:c183d6a9-86f9-4337-b6c5-4efdc6dc0731.

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This thesis argues that Barthelme's major 1985 essay "Not-Knowing" contains within its title Barthelme's central artistic idea, and that not-knowing informs both the subject of his fiction and his philosophy of art. This study will be the first critical treatment of Barthelme that positions his work from beginning to end in terms of the dimensions of not-knowing that came out of his own reading in psychology, art theory, philosophy, religion, and education, offering coherent readings of content and suggesting the ways in which content relates to form. The Introduction explores the origins of Barthelme's ideas of not-knowing, paying special attention to the influence of Mallarmé, Joyce, and Beckett on Barthelme's first characterisations of not-knowing, creativity, and reception. The first chapter gives an in-depth reading of Come Back, Dr. Caligari (1964), Barthelme's first collection of stories. Though Barthelme had not yet begun to formally theorise his ideas of not-knowing, they were already latent in Come Back, Dr. Caligari's characterisation of psychological experience, specifically in relation to anxiety, boredom, and interpretation. The second chapter looks at the ways in which Harold Rosenberg’s theories of the visual arts, and especially collage, which Barthelme encountered while co-editing Location magazine with Rosenberg in the early 1960s, address form and not-knowing, and how Barthelme treats these issues in Unspeakable Practices, Unnatural Acts (1968), City Life (1970), The Slightly Irregular Fire Engine (1971), Sadness (1972), Guilty Pleasures (1974), and Amateurs (1976). The third chapter shows how Barthelme's university studies in 19th century philosophy, especially Kierkegaard in The Concept of Irony (1841) and Kierkegaard's treatment of Schlegel in that treatise, inform his concern with irony, both in theory and practice, in City Life (1970), Great Days (1979), and Overnight to Many Distant Cities (1983). Chapter Four argues that Kierkegaard's theories of education and religion in Either/Or (1843) and The Present Age (1846), as well as the contemporary incarnation of Dewey's ideas of progressive education, both had a profound influence on Barthelme's ideas about the way a society is educated into knowingness, the artist's aspiration toward not-knowing, and the validity of religion in the postmodern world. The conclusion to the thesis reexamines the Introduction's argument about literary influence through a brief reading of The Dead Father (1975). Barthelme is recognised as one of the most important American postmodernist writers, and yet there has been relatively little critical treatment of his oeuvre. The major books that address Barthelme's work, which include Jerome Klinkowitz's Literary Disruptions: The Making of a Post-Contemporary American Fiction (1975) and Donald Barthelme: An Exhibition (1991), as well as Alan Wilde's Horizons of Assent (1981) and Stanley Trachtenberg's Understanding Donald Barthelme (1990), belong to a two-decade span of classifying writers such as Barthelme, Thomas Pynchon, Robert Coover, and John Barth using a limited set of ideas about postmodernism that were interesting as theory at the time, but did little to explore the actual literary, philosophical, and aesthetic content and contexts of these writers' works (with the possible exception of Pynchon). This thesis aims to rescue Barthelme from now-hackneyed ways of talking about postmodernism, which include lumping various aesthetic techniques under the rubric of "metafiction," claiming that the era's sole interest is in surface at the expense of depth, and that the dependence upon clichés is a deliberate expression of artistic exhaustion.
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Cranford, Dennis R. (Dennis Ray). "Harmonic and Contrapuntal Techniques in the Late Keyboard Works of Cesar Franck." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc279361/.

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This study examines the five late keyboard works of Cesar Franck: the Prelude, Chorale, and Fugue and the Prelude. Aria, and Finale for piano, and the three organ chorales. The study focuses on harmonic and contrapuntal techniques and their interrelationships, placing the discussion in the context of an analysis of the whole piece. The primary goal is to identify the salient characteristics of each piece; a secondary goal is to identify common harmonic and contrapuntal aspects of Franck's style.
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Collett, Rachel Joan. "Turning back : continuity and difference in modernist and postmodernist reflexivity." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4256.

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Thesis (MA VA (Visual Arts))--University of Stellenbosch, 2010.
ENGLISH ABSTRACT: The primary function of paintings and novels in Western culture has historically been considered the depiction or description of reality. Over the course of the last century, however, the inherent reflexivity of both art and literature has become progressively more insistent and programmatic, in such a way as challenges the relationship between form and the world. A re-thinking of the role of representation is thus central to both modernism and postmodernism. This thesis is an investigation into the relationship between modern and postmodern reflexivity. Through the close examination of four artists who serve as case studies, I argue that literary and artistic modernism‟s emphasis on form and subjectivity, as well as the tendency of postmodern art and writing to flaunt its own status as rhetoric/fiction, are different facets of a continuous response to a rapidly changing world. Using the insights of post-structuralist theory, I suggest that whereas modernism‟s reflexive drive is directed towards truth and self-knowledge, postmodern reflexivity is centrally concerned with the elusive, continually shifting nature of meaning. What emerges in the light of the practice of individual artist and authors, however, is that the modern and postmodern reflexive modes are not necessarily mutually exclusive, but can co-exist, producing a vital and necessary tension.
AFRIKAANSE OPSOMMING: Beskrywing en uitbeelding van die werklikheid word geskiedkundig as die kernfunksies van skilderye en die roman in die Westerse kultuur beskou. Gedurende die laaste eeu het die inherente refleksiwiteit van beide kuns en letterkunde toenemend meer programmaties en sistematies geword. Dit het geskied op „n wyse wat die verhouding tussen vorm en die wêreld uitdaag. „n Herbesinning van die rol van uitbeelding of representasie is gevolglik van sentrale belang vir beide modernisme en postmodernisme. Hierdie tesis is „n ondersoek na die verwantskap tussen moderne en postmoderne refleksiwiteit. Deur „n noukerige ondersoek van vier kunstenaars se werk, stel ek voor dat die letterkundige en artistieke klem van modernisme op vorm en subjektiwiteit, sowel as die gebruiklike kenmerk van retoriek/fiksie, verskillende aspekte is van „n voortdurende weerkaatsing op „n vinnig veranderende wêreld is. Deur die teoretiese perspektiewe van post-stukturalisme toe te pas, stel ek voor dat modernistiese refleksiwiteit neig na die waarheid en selfkennis, terwyl postmoderne refleksiwiteit fokus op die onbepaalde en veranderlike aard van betekenis. Nietemin, uit my kritiese beskouing van die kreatiewe praktyk van afsonderlike kunstenaars en skrywers blyk dit dat die modernistiese en postmodernistiese refleksiewe benaderinge nie noodwendig mekaar uitsluit nie, maar saam kan bestaan en „n dinamiese en noodsaaklike spanning skep.
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Sena, Yara Máximo de. "Uma leitura do Relatório do Inquérito "Leituras infantis" de Cecília Meireles." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251328.

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Orientador: Norma Sandra de Almeida Ferreira
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Este trabalho tem o intuito de tomar o Relatório do Inquérito "Leituras Infantis" realizado por Cecília Meireles com estudantes cariocas do terceiro ao quinto ano da escola primária, no ano de 1931 e publicado em 1934, como objeto-fonte de investigação, no âmbito das suas condições de produção. Conhecer e interpretar os dados oferecidos neste Relatório sobre as leituras e os gostos infantis nos anos 30, através das preferências e aversões quanto a livros, autores, gêneros e práticas de leitura indicadas sob o ponto de vista dos entrevistados. Apoiados nos estudos teórico-metodológicos da História Cultural (Chartier, 1990), compreendendo que é preciso desconfiar das respostas oferecidas pelas crianças, pois elas não estão num campo neutro, mas de lutas, competições e concorrências, onde os grupos tentam impor seus valores e concepções, indiciando o que liam, gostavam ou não e o que era desejável informar que lesse ou apreciasse. E por outro lado, a organização e a interpretação do Inquérito "Leituras Infantis" realizada por Cecília Meireles também se insere neste jogo de representações ligadas à história da leitura e da literatura para crianças de um determinado tempo e local.
Abstract: The present work has the objective of taking as source, in the scope of its writing, the "Relatório do Inquérito Leituras Infantis", made by Cecilia Meireles with students from Rio de Janeiro, from the third until the fifth year of primary school, in the year of 1931 and published in 1934. In addition, its purpose is to know and interpret the data offered by this report about the literature read by the children and also the children's preferred reading in the 30's, through the preferences and aversions to the books, authors, genders and the reading matter from the point of view of the interviewees. Based on the theoretical-methodological studies of Cultural History (Chartier, 1990), it was understood that it was necessary to be cautious about the answers given by the children, because they are not in a neutral field, but a field of fights and competitions, where the groups try to impose their values and ideas, indicating what they had read, liked or disliked, and what the child felt he should respond to the interviewer about what they had read or appreciated. Furthermore, the organization and interpretation of the "Inquérito Leituras Infantis" made by Cecilia Meireles, is also part of this game of representations connected to the history of the reading and the literature for children in a certain time and space.
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
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8

Arima, Hiroko 1959. "The Theme of Isolation in Selected Short Fiction of Kate Chopin, Katherine Anne Porter, and Eudora Welty." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278060/.

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"The Theme of Isolation in Selected Short Fiction of Kate Chopin, Katherine Anne Porter, and Eudora Welty" examines certain prototypical natures of isolation as recurrent and underlying themes in selected short fiction of Chopin, Porter, and Welty. Despite the differing backgrounds of the three Southern women writers, and despite the variety of issues they treat, the theme of isolation permeates most of their short fiction. I categorize and analyze their short stories by the nature and the treatment of the varieties of isolation. The analysis and comparison of their short stories from this particular perspective enables readers to link the three writers and to acknowledge their artistic talent and grasp of human psychology and situations.
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Kruger, Marieke, and Marieke Malan. "Reflecting self : an exploration of drawing trace as reciprocity between self and life-world, with reference to my own drawing and selected works of Diane Victor." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96943.

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Thesis (MA)--Stellenbosch University, 2015.
ENGLISH ABSTRACT: The study postulates that drawing functions as a valuable vehicle that facilitates reciprocity between the drafter and her life-world. This relationship of exchange can bring about transformation of the self. The study is a qualitative study that aims to establish an understanding of how drawing functions as a vehicle facilitating reciprocity between the drafter and her life-world. In order to effectively research the transformative potential of reciprocity between artist, drawing, and life-world, theoretically and practically, the study is divided into two main parts. Firstly, it constitutes a theoretical section, which forms the foundation for further exploration in the second part of the study. Secondly, the study focuses on the practical manifestation of the theories as manifest in my drawings and in selected drawings of Diane Victor, whose work primarily functions as ‘a third person perspective’ in relation to my own work. The study is rooted in a psycho-analytical framework, focusing on Self psychology and Intersubjective Psychoanalysis of personality psychologists such as Jung, Miller, Goldberg and McAdams, amongst others, as well as the writings of philosophers, art historians and drawing theorists such as Jacques Derrida, Catherine de Zegher, and Suzi Gablik. Valuable links are forged between the transformative potential of drawing, the psychological and the spiritual. Parallels are drawn between notions derived from self-psychology and theology, based on the premise that human beings constitute body (physical aspect), soul (mind and emotion) and spirit, three components that are hardly divisible and that work together in drawing, effecting the transformation of the self. I argue that a failure to acknowledge the significance of the interactivity between these facets limits and inhibits the transformative potential of the drawing process. Through interactivity between the self and her life-world through drawing, moments of ‘recognition’ and ‘knowing’ occur - concerning hidden ‘truths’ of the self, which could affect personal transformation. In this study, life-world comprises inner and outer world, a visible and invisible world. The visible world focuses on the interaction of the self with nature and culture, and the invisible world focuses on the interaction of the self with a psychic world, which includes the workings of the conscious and unconscious mind in drawing and their connection with a spiritual dimension. The spiritual aspect in drawing is researched through the notions of transformative “presence” and the “transcendent function” of drawing. The study explores the psychological and spiritual value of drawings as transformative selfobjects to address the general neglect of the spiritual. I affirm that there exists a mutually conducive potential and influence that the interplay between the spiritual and the psychological in the drawing process bring about. As a “selfobject”, a drawing attains its own ‘silent visual language’ replacing or assisting the role of the therapist, becoming pivotal in a transformative ‘interpersonal dialogue’. Lastly, Jung (Miller, 2004:4) claims that the unification of the conscious and unconscious eventually results in “a living birth that leads to a new level of being, a new situation” (Miller, 2004:4).
AFRIKAANSE OPSOMMING: Die studie veronderstel dat teken funksioneer as 'n waardevolle voertuig wat wisselwerking fasiliteer tussen die tekenaar en haar omwêreld, ‘n wisselwerking wat kan lei tot transformasie van die self. Die studie is 'n kwalitatiewe studie wat daarop gemik is om 'n begrip te kweek van hoe teken funksioneer as voertuig wat wisselwerking fasiliteer tussen die self en haar omwêreld. Ten einde die transformatiewe potensiaal van sodanige wisselwerking deur middel van teken effektief te bestudeer op ʼn teoretiese asook ʼn praktiese vlak, word die studie verdeel in twee hoofdele. Eerstens bied die studie 'n teoretiese gedeelte wat die grondslag vorm vir verdere ondersoek in die tweede deel. Tweedens fokus die studie op die praktiese manifestasie en toeligting van die teorieë in my tekeninge en in geselekteerde tekeninge van Diane Victor, wie se werk hoofsaaklik funksioneer as ‘ʼn derde persoon perspektief’ in verhouding tot my eie werk. Die studie is gewortel in 'n psigo-analitiese raamwerk, met die fokus op Selfsielkunde en Intersubjektiewe Psigo-analise van persoonlikheidsielkundiges soos Jung, Miller, Goldberg en McAdams, onder andere, sowel as die geskrifte van filosowe, kunsgeskiedkundiges en tekenteoretici soos Jacques Derrida, Catherine de Zegher en Suzi Gablik. Die studie het dus ten doel om betekenisvolle bande te smee tussen die transformerende potensiaal van teken, die sielkundige asook geestelike werking wat dit teweegbring. Parallelle word getrek tussen begrippe in selfsielkunde en teologie, gebaseer op die veronderstelling dat die mens bestaan uit liggaam (fisiese aspek), siel (verstand en emosies) en gees. Hierdie onderskeie aspekte (liggaam, siel en gees), is moeilik deelbaar en werk onlosmaaklik saam in die tekenproses ten einde die transformasie van die self te bevorder en te bewerkstellig. Ek argumenteer dat indien ‘n mens versuim om die betekenis en waarde van die interaktiwiteit tussen hierdie fasette te herken, word die transformatiewe potensiaal van die tekenproses misken. Teken kan derhalwe beskou word as ʼn effektiewe voertuig wat wisselwerkende prosesse tussen die self en haar leefwêreld fasiliteer, waartydens daar oomblike van ‘erkenning’ en ‘weet’ voorkom met betrekking tot verborge ‘waarhede’ van die self wat persoonlike transformasie kan beïnvloed. In hierdie studie word daar na omwêreld verwys as 'n interne asook ʼn eksterne wêreld, 'n sigbare en onsigbare wêreld. Wisselwerking dui op die interaksie van die self met die natuur asook kultuur as die sigbare. Wisselwerking dui ook op interaksie van die self met 'n psigiese, onsigbare wêreld. Hierdie psigiese wêreld van die self omvat die bewuste en onderbewussyn deur middel van teken, asook die verband met' n geestelike dimensie. Die geestelike aspek in teken word bestudeer deur die konsepte van transformatiewe "teenwoordigheid" en die "transedentale funksie" van teken. Die studie ondersoek die sielkundige en geestelike waarde van tekeninge wat as transformatiewe ‘selfobjekte’ die potensiaal besit om die algemene verwaarlosing van die geestelike aan te spreek. Ek bevestig dat daar 'n wedersydse bevorderlike wisselwerking en invloed bestaan tussen die geestelike en die psigologiese wat deur wederkerige prosesse binne die tekenproses gefasiliteer word. As 'n ‘selfobjek’ kommunikeer tekeninge deur hul eie ‘stille visuele taal’ en toon die potentiaal om die rol van ʼn terapeut te vervang, of alternatiewelik, te ondersteun, deur middel van visuele ‘interpersoonlike dialoog’. Laastens, beweer Jung dat die eenwording van die bewuste en onbewuste eventueel kulmineer in "ʼn lewende geboorte wat lei tot 'n nuwe vlak van bestaan, 'n nuwe situasie" (Miller, 2004:4).
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10

Duncan, Dawn E. (Dawn Elaine). "Language and Identity in Post-1800 Irish Drama." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277916/.

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Using a sociolinguistic and post-colonial approach, I analyze Irish dramas that speak about language and its connection to national identity. In order to provide a systematic and wide-ranging study, I have selected plays written at approximately fifty-year intervals and performed before Irish audiences contemporary to their writing. The writers selected represent various aspects of Irish society--religiously, economically, and geographically--and arguably may be considered the outstanding theatrical Irish voices of their respective generations. Examining works by Alicia LeFanu, Dion Boucicault, W.B. Yeats, and Brian Friel, I argue that the way each of these playwrights deals with language and identity demonstrates successful resistance to the destruction of Irish identity by the dominant language power. The work of J. A. Laponce and Ronald Wardhaugh informs my language dominance theory. Briefly, when one language pushes aside another language, the cultural identity begins to shift. The literature of a nation provides evidence of the shifting perception. Drama, because of its performance qualities, provides the most complex and complete literary evidence. The effect of the performed text upon the audience validates a cultural reception beyond what would be possible with isolated readers. Following a theoretical introduction, I analyze the plays in chronological order. Alicia LeFanu's The Sons of Erin; or, Modern Sentiment (1812) gently pleads for equal treatment in a united Britain. Dion Boucicault's three Irish plays, especially The Colleen Bawn (1860) but also Arrah-na-Pogue (1864) and The Shaughraun (1875), satirically conceal rebellious nationalist tendencies under the cloak of melodrama. W. B. Yeats's The Countess Cathleen (1899) reveals his romantic hope for healing the national identity through the powers of language. However, The Only Jealousy of Emer (1919) and The Death of Cuchulain (1939) reveal an increasing distrust of language to mythically heal Ireland. Brian Friel's Translations (1980), supported by The Communication Cord (1982) and Making History (1988), demonstrates a post-colonial move to manipulate history in order to tell the Irish side of a British story, constructing in the process an Irish identity that is postnational.
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Books on the topic "1890-1964 Criticism and interpretation"

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Morandi, Giorgio. Giorgio Morandi 1890-1964. Milan: Electa, 1989.

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Morandi, Giorgio. Giorgio Morandi, 1890-1964: Gemälde, Aquarelle, Zeichnungen, Radierungen. Köln: DuMont, 1989.

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Morandi, Giorgio. Giorgio Morandi, 1890-1964: Musée Cantini, 13 avril - 18 juin 1985. [Marseille]: Direction des musées de Marseille, 1985.

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Ruppel, Richard R. Gottfried Keller and his critics: A case study in scholarly criticism. Columbia, SC: Camden House, 1998.

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Kovtun, E. F. Mikhail Larionov: 1881-1964. Sankt-Peterburg: Avrora, 1998.

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Muller, Roel H. Smit. Stien Eelsingh, 1903-1964. Zwolle: Waanders, 1998.

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Naldi, Monica. Mara Corradini, 1880-1964. Zürich: AS Verlag, 1995.

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Franzo, Stefano. Alessandro Pomi, 1890-1976. [Treviso, Italy]: Zoppelli e Lizzi, 2009.

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Huerta, Moisés Bazán de. Eulogio Blasco: Cáceres, 1890-1960. Cáceres: Institución Cultural "El Brocense," Diputación Provincial de Cáceres, 1991.

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Esa. Oẏājeda Āli, 1890-1951. Ḍhākā: Bāṃlā Ekāḍemī, 1987.

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Book chapters on the topic "1890-1964 Criticism and interpretation"

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Camlot, Jason. "Alfred, lord Tennyson’s Spectral Energy." In Phonopoetics, 100–136. Stanford University Press, 2019. http://dx.doi.org/10.11126/stanford/9781503605213.003.0004.

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Chapter 3 tells the story of the multiple recordings made between 1890 and 1920, both by the poet himself and by actors and elocutionists, of Tennyson’s poem “The Charge of The Light Brigade.” It analyzes the kinds of performance and genre that informed the production of these recordings and locates the speech sounds heard on them in debates of the period about elocution and verse speaking. An account of late Victorian methods of “dramatic” interpretation as elaborated by Samuel Silas Curry in Imagination and Dramatic Instinct opens into a longer genealogy of oral interpretation, and considers the import of New Criticism as a method of literary interpretation that worked to silence oral performance in the classroom. The close listening in this chapter also explores the potential of digital speech analysis tools to help us to fix and visualize elocutionary, prosodic features of these recordings of “Charge.”
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Curti, Roberto, and Roberto Curti. "Prologue (and Epilogue)." In Blood and Black Lace, 7–8. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781911325932.003.0001.

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This chapter provides an overview of Mario Bava's film Blood and Black Lace (6 donne per l'assassino) in 1964. It mentions critics and commentators of the Blood and Black Lace movie who were spellbound by its fascinating visual analogy that links the opening and final images. It also looks into analyzations of the film that proposes the most disparate interpretations. The chapter discusses Bava's demystifying explanation of his movie in an interview published in 1979, just one year before his death. It talks about the significance of the opening scene of Blood and Black Lace and interprets the connection between the signboard swinging at the beginning, during a rainstorm, and the telephone falling on the ground.
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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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