Academic literature on the topic '1893-1960 Criticism and interpretation'
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Journal articles on the topic "1893-1960 Criticism and interpretation"
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Gherasim, Gabriel C. "American Art Criticism between the Cultural and the Ideological (II)." American, British and Canadian Studies Journal 25, no. 1 (December 1, 2015): 20–36. http://dx.doi.org/10.1515/abcsj-2015-0006.
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Abstract For the past 150 years, American art and art criticism have undergone important cultural and ideological transformations that are explanatory both of their historical evolution and of the possibility of being divided into several stages. In my interpretation, art criticism cuts across the historical evolution of art in the United States, according to the following cultural and ideological paradigms: two predominant cultural ideologies of art between 1865-1900 and 1960-1980, respectively; two other aesthetic and formalist ideological shifts in the periods between 1900- 1940 and 1940-1960, respectively, and one last pluralist approach to the arts after 1980. Even if this conceptualisation of art criticism in America might seem risky and oversimplifying, there are conspicuous and undeniable arguments supporting it. In a previous study published by American, British and Canadian Studies, I provided conceptual justifications both for the criteria dividing the cultural and the ideological within the overall assessment of American art by art critics and for the analysis and interpretation of the first two important temporal periods in the field of art criticism, 1865-1900 and 1908-1940. The present study continues by analyzing the cultural and ideological stances of American art criticism after 1940 and argues for certain paradigmatic shifts from one period to another.
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Soussloff, Catherine M. "Historiography and Negativity in the Paintings of Chaïm Soutine." IMAGES 11, no. 1 (December 5, 2018): 117–40. http://dx.doi.org/10.1163/18718000-12340097.
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AbstractThis article addresses the theoretical dimensions of the consolidation of identity and formal expression in the historiography of the painter Chaïm Soutine (1893–1943), including the central place of his Jewish identity in it. It contends that the anormative historical archive related to Soutine and the centrality of the expressive object in the criticism on him have obscured his historiographical significance in favor of a synchronic singularity. Portraits of and by Soutine and his contemporaries will be used to offer alternative approaches to the interpretation of the artist and his paintings.
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Slivka, Daniel. "Pontifical Encyclical Divino Afflante Spiritu (1943) and Principle of Interpretation Bible." E-Theologos. Theological revue of Greek Catholic Theological Faculty 1, no. 1 (April 1, 2010): 106–16. http://dx.doi.org/10.2478/v10154-010-0010-x.
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Pontifical Encyclical Divino Afflante Spiritu (1943) and Principle of Interpretation Bible Divino Afflante Spiritu (Inspired by the Divine Spirit) is an encyclical letter issued by Pope Pius XII on September 30, 1943. It inaugurated the modern period of Roman Catholic Bible studies by permitting the limited use of modern methods of biblical criticism. The Catholic bible scholar Raymond E. Brown described it as a 'Magna Carta for biblical progress'. The first purpose of the encyclical was to commemorate the fiftieth anniversary of the issuing of Providentissimus Deus by Pope Leo XIII in 1893, which had condemned the use of higher criticism. In the encyclical, Pius XII noted that since then, advances had been made in archeology and historical research, making it advisable to further define the study of the Bible. In his encyclical the Pope stressed the importance of diligent study of these original languages and other cognate languages, so as to arrive at a deeper and fuller knowledge of the meaning of the sacred texts. Catholic translations of the Bible have been based directly on the texts found in manuscripts in the original languages, taking into account also the ancient translations that sometimes clarify what seem to be transcription errors in those manuscripts, although the Latin Vulgate remains the official Bible in the Latin Rite of the Catholic Church. The Holy Scripture as a source of revelation was getting more often towards the believers at the beginning of last century. Interest in individual aspects of biblical text meant many difficulties for the Church. On the other end it brought great interest in Bible. Also new movements in Church and Magisterium explications helped it. Convocation of Second Vatican council vouched Catholics interest in positive changes in various Church ranges. It led to ratification the constitutions, edicts and declarations.
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Marley, Jodie. "‘Invisible Gates Would Open’." Bulletin of the John Rylands Library 98, no. 1 (May 31, 2022): 23–38. http://dx.doi.org/10.7227/bjrl.98.1.4.
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Yeats’s Blake criticism of the 1890s hinged on his knowledge of the esoteric and occult systems that he used as his framework for interpretation of the Romantic poet. This article examines The Works of William Blake: Poetic, Symbolic, and Critical (1893) and Yeats’s 1890s reviews of his contemporary Blake critics, as well as his relationship with the mystic poet and artist George William Russell (Æ), whom he repeatedly compared to Blake. Yeats’s emphasis on the importance of Boehme and Swedenborg in Blake’s system had a major influence on Blake’s critical legacy in the twentieth century, such as S. Foster Damon’s approach to Blake in William Blake: His Philosophy and Symbols (1924) and Kathleen Raine’s Blake and Tradition (1969). Yeats’s engagement with Blake in the 1890s also contributed to the popular conception of Blake as a mystic and visionary artist which still continues.
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Susanto, Dwi. "Pandangan Pengarang terhadap Perempuan dalam Cerpen Tahun 1950-1960-an Karya Pengarang Peranakan Tionghoa-Indonesia." Diglosia: Jurnal Kajian Bahasa, Sastra, dan Pengajarannya 5, no. 4 (November 1, 2022): 883–96. http://dx.doi.org/10.30872/diglosia.v5i4.526.
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This paper looks at the views or constructions of Chinese peranakan authors towards women in that era. Issues discussed: (1) how Peranakan authors narrate women in their works; (2) the reasons for the Chinese Peranakan authors in the 1950s-1960s to narrate women. This study uses the point of view of feminist literary criticism. The object of this research is the 1950-1960s short stories and the author's perspective on women. The data of this research is the narrative of short stories that describe the image of women, the author's social construction, and the idea of androcentrism. The data interpretation technique follows the way of feminist literary criticism. The results of the study: (1) women are presented and controlled by men and are controlled by social construction; (2) the idea of morality and the economic context becomes a construction that the author interprets through androcentrism; (3) morality is misinterpreted by male authors and women as victims who are silenced in the name of morality. It has resulted in women being unable to speak up and follow androcentrism in the name of tradition and the sacred concept of morality. Morality is misinterpreted as sexuality and borne by women.
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Fahmi, Ami Abdullah, and Ramdhan Prasetyo. "Pengaruh Pembangunan Jembatan Cirahong terhadap Perkembangan Perkebunan di Kabupaten Galuh-Ciamis 1893-1942." Diakronika 22, no. 2 (December 31, 2022): 184–202. http://dx.doi.org/10.24036/diakronika/vol22-iss2/305.
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The writing of this article started from the author's interest in Dutch heritage buildings around the Tasikmalaya area, which still stand strong today. One of the most interesting is the Cirahong Bridge. This bridge was built during the colonial period as a means of transportation. According to the blueprint, the Cirahong bridge is the only multifunctional bridge in Indonesia because the upper part is used for the train line, while the lower part is used for connecting cars and motorbikes from Manonjaya to Ciamis. The construction of this bridge is also interesting because it involves several political lobbies from the Galuh rulers (ciamis) who want to change the train line from its original direction towards Cimaragas to Ciamis. This lobby bears sweet fruit with the change of route to Ciamis. This study aims to determine the development of the Cirahong railway bridge and its impact on the development of plantations in the Galuh-Ciamis Regency. This article uses the Historical Method, which includes the stages of heuristics, criticism, interpretation, and historiography. The construction of the Cirahong Bridge, which began in 1893, took seven months in the manufacturing process. The construction of this bridge was a must after the Bogor-Cilacap railway line switched from Cimaragas to Ciamis as a result of political lobbying from RAA Kusumadiningrat. This political lobby bore fruit for Galuh because it had a direct impact on Galuh's economy, marked by the construction of 39 new plantations and the emergence of many new jobs related to rail transportation facilities in Galuh due to the existence of a train line passing through Galuh.
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Nafisah, Jihan Jauhar, and Andi Suwirta. "Perlawanan Kwee Kek Beng dalam Rubrik Hindia And Holland Dan Djamblang Kotjok Pada Surat Kabar Sin Po (1923-1960)." FACTUM: Jurnal Sejarah dan Pendidikan Sejarah 10, no. 2 (October 30, 2021): 199–206. http://dx.doi.org/10.17509/factum.v10i2.38973.
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This article aims to describe the aspirations of the figure Kwee Kek Beng who is known as an opinion maker in the history of the press movement in Indonesia in 1923-1960. The problem that will be studied in this article is: "How is Kwee Kek Beng's effort in advancing the Sin Po newspaper, especially in Advancing the Sin Po Newspaper with Articles / Rubrics?" In the writing process, the writer uses historical methods in the form of heuristics, source criticism, interpretation, and historiography with an interdisciplinary approach. Based on the research results, in the process of developing the press movement in Indonesia, Kwee Kek Beng managed to become an opinion maker in Indonesia through his various controversial writings. Evidence of this is the exposure of Kwee Kek Beng to a press offense, the banning of the Sin Po newspaper. In his writings, Kwee Kek Beng conveyed various aspirations and concerns of the people towards the government, especially in the years 1923-1960. This shows the importance of the role of the mass media in an effort to voice the voice of the people as part of a means of resistance against colonialism.
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Nugraha, Farhan, Muhammad Fakhruddin, and Humaidi Humaidi. "Mahbub Djunaidi, Seniman Politik Nahdlatul Ulama (1960-1987)." Criksetra: Jurnal Pendidikan Sejarah 10, no. 2 (August 23, 2021): 159–74. http://dx.doi.org/10.36706/jc.v10i2.13609.
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Abstrak: Nahdlatul Ulama merupakan salah satu organisasi Islam terbesar di Indonesia. Organisasi ini lahir tentu dari para tokoh-tokoh besar yang menggawanginya, salah satunya Mahbud Djunaidi. Kemampuan politiknya diperoleh dari berbagai pengalaman organisasi dan kemampuan dalam kepenulisan. Adapun permasalahan yang diangkat dalam penelitian ini yaitu bagaimana riwayat politik Mahbub Djunaidi sebagai aktivis politik Nahdlatul Ulama pada tahun 1960-1987. Berdasarkan permasalahan tersebut penelitian ini bertujuan untuk menguraikan perjalanan politik Mahbub Djunaidi (1960-1987). Berdasarkan permasalahan dan tujuan penelitian tersebut, maka metode yang digunakan adalah metode historis yang terdiri dari tahap heuristik, kritik sumber, interpretasi dan historiografi. Hasil dari penelitian menunjukkan bahwa Mahbub Djunaidi memiliki konsep khittah plus. Demokrasi politik ala Mahbub Djunaidi adalah cita-cita demokrasi yang diperjuangkan melalui garis politik.Kata Kunci: Mahbub Djunaidi, Demokrasi Politik, Nahdlatul Ulama.Abstract: Nahdlatul Ulama is one of the largest Islamic organizations in Indonesia. This organization was born of course from the big figures who oversee it, one of them Mahbud Djunaidi. His political abilities are obtained from various organizational experiences and abilities in writing. The problem raised in this research is how the political history of Mahbub Djunaidi as a political activist of Nahdlatul Ulama in 1960-1987. Based on these problems, this study aims to describe the political journey of Mahbub Djunaidi (1960-1987). Based on the problems and objectives of the research, the method used is the historical method which consists of heuristics, source criticism, interpretation and historiography stages. The results of the study show that Mahbub Djunaidi has the concept of khittah plus. Political democracy in the style of Mahbub Djunaidi is the ideal of democracy which is fought for through political lines. Keywords: Mahbub Djunaidi, Political Democracy, Nahdlatul Ulama.
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Pulkkinen, Veijo. "Muutokset Aaro Hellaakosken"Vieras"-runon ulkoasussa." AVAIN - Kirjallisuudentutkimuksen aikakauslehti, no. 2 (July 1, 2016): 5–23. http://dx.doi.org/10.30665/av.66034.
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Changes in the Visual Form of Aaro Hellaakoski’s Poem ”Vieras” (”The Stranger”)
The present article shows how genetic criticism (critique génétique) can enrich our understanding and interpretation of visual poetry by examining the manuscript, proofs and published versions of the poem ”Vieras” (” e Stranger”) from the typographically experimental collection Jää- peili (”Ice Mirror”, 1928) by the Finnish poet Aaro Hellaakoski (1893–1952). e collection is regarded as a forerunner of Finnish modernism, and particularly its experimental typography got successors only as late as in the 1960s. Besides omitting punctuation and upper case letters, Hellaakoski experiments with the auditory and visual dimensions of ”Vieras” by dividing metrical stanzas and line units into typographically separate groups. In his later selected poems Valitut runot (”Selected poems”, 1940) and Runot (” e Poems”, 1947), Hellaakoski stripped ”Vieras” from these experimental features. e examination of the manuscripts and proofs of ”Vieras” shows that Hellaakoski’s later revisions actually revert the poem to a form closer to its early, visually more traditional, manuscript versions. e article suggests, that it was probably the integrity of Jääpeili as a modernist collection that motivated Hellaakoski into the experimental typography and ortography of ”Vieras”. ese features became dispensable when the poem was released from the context of the collection.
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Vasiliu, Laura-Otilia. "The relevance of context in musicological interpretation. Hermeneutical applications on certain Romanian writings and works." Artes. Journal of Musicology 25, no. 1 (April 1, 2022): 47–57. http://dx.doi.org/10.2478/ajm-2022-0004.
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Abstract We have been perceiving ever more acutely for the past two decades a major change in the vision and musicological style in the Romanian language: language analysis and historiographic research have slid onto a secondary plane, while the commentary of the work, of its interpretation and the characterisation of the style, determined by the social, political, biographical, artistic factors, by the means of expression of the time focus researchers’ interest increasingly. The history of contemporary musicology recognises the moment of change of the thinking paradigm in the 1980s writings belonging to Joseph Kerman: the article How we got into Analysis, and How to Get Out and the volume Contemplating Music. The author criticises the formalism and positivism which define musicology, identified with musical analysis, reveals its ideological nature, as the relation between analysis and organicity is the leading ideology. The American musicologist pleads for a more cultural form of musical criticism, supported by the exposure of the context and of the sources of the work objectified. According to Kerman, musicology had become more discoursively-critical and less positivist (so-called scientific), being more preoccupated with interpretation than with information on the writing details and historical data; it had reconquered its interdisciplinary valences and envelopped all musical genres. Analysing the effects of this direction on the Romanian musicological discourse, we do two case studies: 1. the recent collective work Noi istorii ale muzicii românești [New histories of Romanian types of music], coordinated by Valentina Sandu-Dediu and Nicolae Gheorghiță in the direction of emphasising and/or cancelling the effects of (nationalistic, socialist-realist) ideology on the value judgement of the anthologised musical and creative phenomena; 2. the musical comedy Amorul doctor [Dr. Love] by Pascal Bentoiu, regarded from the perspective of the relation between the artistic value and the cultural trajectory broken by the obscurity of Romanian society in the first half of the 1960 decade.
Dissertations / Theses on the topic "1893-1960 Criticism and interpretation"
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Rosler, Julia. "Acting the part : gender and performance in contemporary plays by women." Thesis, University of Stirling, 2000. http://hdl.handle.net/1893/2399.
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Acknowledging performance as a process through which gender identities are constituted, the thesis explores attempts in women's theatre to subject these very constructs to creative deconstruction. It offers a study of plays by Caryl Churchill, Sarah Daniels and Timberlake Wertenbaker. Setting their work in the context of prevailing discourses of representation, the analysis delineates the ways in which plays by women interrogate the Western tradition of meaning and perception. The thesis proposes theatrical performance as a strategic engagement with the very means by which women's position is constituted. Therefore, it argues that in women's dramatic work, the possibility of resistance, of agency and choice occurs in the playful adaptation of dominant discourse, allowing for new figurations of subjectivity. Exploring the difficulties and limitations involved in this strategy, the study evaluates how plays by women release a potential for transgression which dislocates the structures of representation.
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Berry, Robert James. "Conrad and Dostoevsky : an unsuspected brotherhood." Thesis, University of Stirling, 1993. http://hdl.handle.net/1893/2015.
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This thesis attempts a comparative study of Conrad and Dostoevsky. In doing so, it proposes a significant relationship between the ideological, political and literary worlds of both authors. The work is undertaken in eight chapters. Chapter One explores Conrad and Dostoevsky's respective national and cultural identities. It reflects on Conrad's recorded reactions to Dostoevsky and his work, and speculates on the latter's likely response to Conrad. Chapter Two challenges established critical formulae that suggest Dostoevsky is a purely 'Dionysian' writer. The view that Conrad is a consummate 'Apollonian' artist is similarly brought into question. Chapter Three considers Conrad and Dostoevsky as major literary innovators. To support my argument, Bakhtin's critical concepts of 'polyphony' and 'monology' are introduced, and applied in a Dostoevskyan and Conradian context. Especially highlighted is my debate on Conrad's 'polyphonic' narrative technique in Lord Jim (1900). The notable fusion of disparate literary genres in Conrad and Dostoevsky's novels is explored in Chapter Four. Elements of 'adventure', 'thriller', 'romance', and 'detective' fiction are identified in each novelist's world. My argument, however, restricts itself to an extensive analysis of the surprising importance of the 'Gothic' elements in both writers' worlds. Chapters Five and Six, concentrate on Conrad and Dostoevsky's profound insights into the fundamental character of the human personality. Chapter Five considers their parallel interpretations of mankind's quintessentially materialist nature. Chapter Six looks at their strikingly similar visions of man's violent and carnal identity, and his primary urge to dominate other weaker individuals. Chapters Seven and Eight consider two central themes in Conrad and Dostoevsky's fiction, that of anarchist politics and nihilism respectively. Their political and ideological responses to these issues are investigated in some detail, and significant interpretive parallels established. Finally, the conclusion undertakes to once again assure the reader of the surprising and unsuspected bonds that exist between these two seemingly alien writers.
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Ariturk, Nur Nilgun. "An Iris in the sun : perception-reception-perception in Iris Murdoch's novels of the good." Thesis, University of Stirling, 1997. http://hdl.handle.net/1893/1970.
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Murdoch considers herself a 'Christian fellow-traveller', 'a kind of Platonist' and a 'sort of Buddhist', all of which summarise her spirit of writing very well. Iris Murdoch places a very serious obligation on the artist to present reality to his/her observers/readers. In almost all her philosophical articles, books, and interviews, she expresses with great emphasis the task of art, especially prose literature, as a form of education for moral development. In that sense, we can call her a moralist and a 'philosophical' novelist. With her 'Novels of the Good' Iris Murdoch is inviting the reader for a 'journey into the iris', saying: 'I am the Iris; come into me and see. ' The message of her novels is not of 'philosophy' but of everyday moral reality. In other words, reading Murdochian novels is reading morals. This is the main argument in this study. The moral education (preception) of the reader by Iris Murdoch is to 'realise' (receive) the 'perception' of the other--hence the title of the thesis--through her 'novels of character'. For Murdoch, appreciating a work of art is no different than knowing another person(s). The good artist and the good person have, in that respect, the same moral discipline. And this disciplined attention brings with it the true perception and clarity and morally right behaviour. The reader has to attend with moral responsibility to the work of art because it is through literature that s/he can enlarge his/her vision and inner space. The thesis is divided into two main sections: the moral precepts and their exemplification as concrete everyday examples in her novels themselves. The Introduction provides the 'philosophical' and theoretical background for Murdoch's 'Novels of the Good'. Included here is a dictionary of some of the major 'concepts', or rather 'precepts' that Murdoch uses both in her novels and her philosophical articles and books, in order to train her reader to gain ethical vision. Also included in this chapter is a section on reading and readers through structuralist and reader-oriented theories in contrast to or comparison with Murdoch's conception/perception of the 'reader' in her novels. Chapter I switches on the 'machine', Murdoch's &camera-eye' on the egoistic human 'psyche', which Murdoch likens to a machine. Chapter 11 discusses this 'machine' in close-up, that is through first-person narrative novels. Chapter 111, which includes novels that have philosophers at the centre, throws a 'light' on philosophy and everyday reality. Chapter IV explores the importance of death in everyday life. However, although the chapters are divided under different titles, the novels discussed in each chapter can be related to the rest as Murdoch discusses the same precepts recurrently in different contexts which gives her novels the 'serial' characteristic. Each novel is part of the reader's pilgrimage to the Good to understand his/her limitations in the face of the contingent reality represented in her fiction through free individual characters. To enter the Murdochland is to enter the cycle of 'arriving at not arriving'.
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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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Ingram, Douglas Nairn. "The ambiguity of Qohelet : a study of the ambiguous nature of the language, syntax and structure of the Masoretic text of Qohelet." Thesis, University of Stirling, 1996. http://hdl.handle.net/1893/2589.
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The premise upon which this thesis is founded is that the book of Qohelet is fundamentally ambiguous. Ambiguity is attached to all its major themes, and can be discerned in its language, syntax and structure. This has not been given due attention in previous works on Qohelet. The introduction considers the concepts of 'ambiguity' and 'meaning': it is crucial for the reader to understand what is meant in this thesis by these terms. 'Ambiguity' is understood as those aspects of the text whose indeterminacy requires the reader to fill in 'meaning' in order for a coherent reading to be produced: thus the reader's role is crucial, but is nonetheless restricted by the determinate schemata in the text. Part 1 explores the determinate schemata in Qohelet in an attempt to provide objective criteria against which the ambiguities may be set. Detailed attention is paid to the text in order to discern trends and patterns in the book. These are employed in an attempt to discover how the book as a whole and the sections within it are structured. Part 1 ends by asserting that it is ultimately futile to seek an overall structure or pattern to the book: this is an aspect of its ambiguity. Part 2 systematically examines linguistic and syntactical ambiguities in Qohelet, exploring the possibilities for interpretation according to the ways in which the reader fills in the gaps left by these ambiguities. The conclusion argues that the ambiguity of Qohelet is the primary reason for the hugely diverse interpretations of the book throughout its history, and for the many varied proposals for its structure. In this way it is a realistic reflection of an ambiguous world and the relationship between the people of this world and the God who made the world with all its ambiguities.
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Alsamaan, Moyassar. "The fiction of William Golding : a study in contradictions." Thesis, University of Stirling, 1992. http://hdl.handle.net/1893/12550.
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This thesis undertakes a study of the contradictions embedded in Golding's fiction. It is difficult, as I attempt to show, to treat Golding under the rubric of revolutionary, conservative, liberal humanist, optimistic or pessimistic writer separately. Golding's fiction shows a mind which is at once creative and enmeshed in the mysteries of the universe. However, I attempt in this study to shed light on the many contradictions which I think are present in his work. For this purpose, I concentrate on eight novels as the objects of my analysis. Lord of the Flies, Golding's first novel, displays a contradiction which is at the heart of Golding's vision. WhiIe Golding tries hard to show the hardness of man’s heart, he risks falling into pointlessness if the project were to end only on this note. Golding is caught up in the dilemma of at once believing in Original Sin and wanting to see an alternative future for humankind. If man is "originally" incapable of harmonious living, how is he ever to achieve this harmony? In Pincher Hartin, Golding delves deeper into a religious dogmatism which believes in individual greed. This greed, however, threatens ultimately to undo the "system" within which it exists. But if Golding tries hard to eliminate this individual greed, how then can he emphasise that man is originally sinful? With the removal of this greed and many other sins with it, man is likely to become "pure", something which Golding does not believe in. In Free Fall, Golding explores the idea of art for art's sake. One of the problems of this idea is that it leaves the political implications of any situation completely intact. The Spire enacts a different kind of contradiction. Jocelin, in one sense a saintly figure who can "see" more intuitively than the others, is driven into despair at his own creation. He ultimately loses faith in his own "powerful" vision. In The Paper Men, Golding embarks on a new way of treating his own themes. In its technique, this novel is closer than any of the others to postmodernist literature in its permutations, displacements, and indecisiveness. As for the trilogy, here Golding reaches a position where he can confidently be described as a liberal humanist. The trilogy paradoxically shows Golding at his best. The contradictions of the protagonist Edmund Talbot "reflect" those of a social class that has within it the features of both the aristocracy and the bourgeoisie. At the end, Golding does not "solve" these contradictions and he leaves us with a proposition that could see the end of all literary criticism and analysis. It is in the conclusion to this study that I address this problem.
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Watters, Erika. "From major to minor : paradigms of literary value and the case of Dorothy Parker." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61166.
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This thesis offers a reevaluation of selected short stories by Dorothy Parker. Although receptions of Parker's work have been predominantly negative, this is not seen as cause for lament, but rather for a revision of literary valuing practices and the canonical paradigms they support. Traditional assumptions about the status of so-called "minor" literature and its subservient relation to canonical works are rejected in favour of a revised appreciation of the qualities specific to minor modes of writing.
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Grance, Heather Anne. "Style and the Art of Chaim Soutine: Ethnicity, Nationalism and Geography in the Critical Reception and Historiography." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5324/.
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This thesis argues that art criticism published during Soutine's lifetime emphasizes ethnicity, nationalism and geography in discussions of the artist's style. These critical discussions have influenced the historiography of Soutine published after his death, resulting in a continued emphasis on style that includes references to ethnicity. Ethnicity, nationalism and geography are identified in the critical reception and historiography by noting references, both specific and implied, to Jewishness, French art, and foreign status (among others). These references are analyzed in terms of existing scholarship that addresses concepts of ethnicity and nationalism, and with consideration to how the critical reception has impacted the historiography.
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Massie, Eric. "Stevenson, Conrad and the proto-modernist novel." Thesis, University of Stirling, 2002. http://hdl.handle.net/1893/21610.
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This thesis argues that Robert Louis Stevenson's South Seas writings locate him alongside Joseph Conrad on the 'strategic fault line' described by the Marxist critic Fredric Jameson that delineates the interstitial area between nineteenth-century adventure fiction and early Modernism. Stevenson, like Conrad, mounts an attack on the assumptions of the grand narrative of imperialism and, in texts such as 'The Beach of Falesa' and The Ebb Tide, offers late-Victorian readers a critical view of the workings of Empire. The present study seeks to analyse the common interests of two important writers as they adopt innovative literary methodologies within, and in response to, the context of changing perceptions of the effects of European influence upon the colonial subject.
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Graham, Angus Alastair. "The German Melibeus and other vernacular versions of the works of Albertano da Brescia." Thesis, University of Stirling, 1985. http://hdl.handle.net/1893/21549.
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Albertano da Brescia's three treatises are compilations, and therefore form a part of an enormous mass of mediaeval literature. This thesis performs two principal tasks as a step towards an assessment of the importance of Albertano as a compilist, and of his works as repositories of classical knowledge and therefore as source-material for the writings of many mediaeval and Renaissance authors. First, text-critical editions of two different translations into fifteenth-century German of Albertano's Liber consolationis et consilii (Melibeus) are given. An examination of the interrelationship and transmission of manuscripts and early prints reveals the great popularity of just one of these translations on the eve of the Renaissance. Second, a further indication of the popularity of Albertano's works throughout mediaeval Western Europe is given by the provision of details of all hitherto known manuscripts and early prints containing translations or workings of the treatises in the vernacular. Many of these are recent discoveries. In order to provide the reader with a wherever possible. Finally, an overview of works known to contain specific borrowings from Albertano is given, together with further literature, where this exists. The extent of the influence that Albertano's compilations exerted is indicated by the familiarity of the names of authors borrowing from him: Geoffrey Chaucer, Dante Alighieri, Christine de Pisan and Erhart Gross, to name just four.
Books on the topic "1893-1960 Criticism and interpretation"
1
Mann, Thomas. Frühe Erzählungen, 1893-1912. Frankfurt a.M: S. Fischer, 2004.
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1893-1943, Soutine Chaim, ed. Khaim Sutin, 1893-1943. Moskva: Iskusstvo - XXI vek, 2009.
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Marcianò, Ada Francesca. Hans Scharoun, 1893-1972. Roma: Officina edizioni, 1992.
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1893-1945, Essers Bernard, and Timmer Annemarie, eds. Bernard Essers (1893-1945). Zwolle: Waanders Uitgeverij, 2008.
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Maxime Dumoulin: Compositeur français (1893-1972). Paris: L'Harmattan, 2006.
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Elsi Borg, 1893-1958, arkkitehti. Helsinki: Suomen Rakennustaiteen Museo, 1995.
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Irace, Fulvio. Giovanni Muzio: 1893-1982 : opere. Milano: Electa, 1994.
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Lundstrøm, Vilhelm. Vilhelm Lundstrøm: 100 år : 1893-1993. København: Udstillingsbygningen ved Charlottenborg, 1993.
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Erben, Walter. Joan Miró, 1893-1983: Mensch und Werk. Köln: Benedikt Taschen Verlag, 1988.
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Lopes, Oscar. Jaime Cortesão, 1884-1960. Lisboa: Biblioteca Nacional, Ministério da Cultura, 1985.
Find full textBook chapters on the topic "1893-1960 Criticism and interpretation"
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Amelina, Anna V. "The Esenin’s Perception in the Czech Republic in the 1950–1980’s." In Sergey Esenin in the Context of the Epoch, 582–602. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0672-7-582-602.
Full textAbstract:
The article analyses the interpretation of S. A. Esenin’s work by Czech criticism and translations of his works into Czech from the second half of the 1950’s to the 1980’s. During the period 1950’s–1960’s one can observe two obvious ideological “skews” in the perception of Esenin: one of them was created under the influence of the Soviet doctrine, the second represents a view of Esenin exclusively as an avant-garde poet-imaginist. In 1970–1980’s Esenin was the part of the officially permitted layer of culture, his works were actively translated, staged as well as he was ubiquitous both in the studies of literary scholars and in mass periodicals.
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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.
Full textAbstract:
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.