Academic literature on the topic '1896-1940 Criticism and interpretation'
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Journal articles on the topic "1896-1940 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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Slater, Niall W. "‘Against Interpretation’: Petronius and art Criticism." Ramus 16, no. 1-2 (1987): 165–76. http://dx.doi.org/10.1017/s0048671x00003295.
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For forty years a debate has raged in Petronian studies between the moralists and, for want of a better term, the anti-moralists. From Highet in the 1940's to Bacon and Arrowsmith in the 1950's and 60's, the moralists held a certain advantage. Whatever important divergences there were among these critics, all agreed on a Petronius who stood in some critical relation to his society. The dissenting voices have grown much louder of late. Ironically, the literary brilliance of Arrowsmith's New Critical reading of the Satyricon helped to turn the tide against the moralist viewpoint. The more apparent the literary sophistication of the Satyricon has become, the less willing late twentieth century readers have been to see a programmatic moral critique as its main purpose. Sullivan's view of Petronius as a ‘literary opportunist’ has come to dominate the field.With Graham Anderson's book, Eros Sophistes: Ancient Novelists at Play, the retreat from the position of Highet is now complete. We have finally reached the logical, New Critical conclusion that the Satyricon is an entirely self-contained literary game without any message whatsoever; in effect we are told that, like any serious piece of literature, the Satyricon ‘should not mean, but be’. Anderson is eager to disavow ‘the unproven conviction that every work must have a message, however diffusely or perversely expressed’.
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Lernout, Geert. "Who Wrote What When: The Bible, Science and Criticism." European Review 20, no. 3 (May 2, 2012): 301–15. http://dx.doi.org/10.1017/s1062798711000561.
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According to the traditional (or ‘whig’) interpretation of history, sometime in the seventeenth century science was born in the form that we know today, in a new spirit that can best be summed up by the motto of the Royal Society: nullius in verba, take nobody's word for it. In the next few centuries this new critical way of looking at reality was instrumental in the creation of a coherent view of the world, and of that world's history, which was found to be increasingly at odds with traditional claims, most famously in the case of Charles Darwin's theory of evolution. By the end of the nineteenth century, the divide between science and religion was described by means of words such as ‘conflict’ and ‘warfare,’ the terms used by John William Draper and Andrew Dickson White in the titles of their respective books: History of the Conflict between Religion and Science (1874) and History of the Warfare of Science with Theology in Christendom (1896).
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Vasic, Aleksandar. "Engagement in musical criticism: Pavle Stefanovic’s texts in The Music Herald (1938-1940)." Muzikologija, no. 27 (2019): 203–20. http://dx.doi.org/10.2298/muz1927203v.
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Pavle Stefanovic (1901-1985) is one of the most prominent Serbian music critics and essayists. He created extensive musicographic work, largely scattered in periodicals. A philosopher by education, he had an excellent knowledge of music and its history. His style was marked by eloquence, associativity and plasticity of expression. Between 1938 and 1940 he published eighteen music reviews in The Music Herald, the longest-running Belgrade music magazine in the interwar period (1928-1941, with interruption from 1934 to 1938). Stefanovic wrote about concerts, opera and ballet performances in Belgrade, performances by local and eminent foreign artists. His reviews include Magda Tagliaferro, Nathan Milstein, Jacques Thibaud, Enrico Mainardi, Bronis?aw Huberman, Alexander Uninsky, Alexaner Borovsky, Ignaz Friedman, Nikita Magaloff and many other eminent musicians. Th is study is devoted to the analysis of the Stefanovic?s procedure. Pavle Stefanovic was an anti-fascist and left ist. He believed that the task of a music critic was not merely to analyze and evaluate musical works and musical interpretations. He argued that the critic should engage in important social issues that concerned music and music life. That is why he wrote articles on the occasion of German artists visiting Belgrade, about the persecution of musicians of Jewish descent and the cultural situation in the Third Reich. On the other hand, Stefanovic was an aesthetic hedonist who expressed a great sense of the beauty of musical works. Th at duality - a socially engaged intellectual and a subtle ?enjoyer? of the art - remained undisturbed. In these articles he did not go into a deterministic interpretation of the structure of musical composition and the history of music. And he did not accept the larpurlartistic views.
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Aleksandrova-Osokina, Ol'ga Nikolaevna, and Jian Huang. "Interpretation of P. Komarov’s Creative Work in Literary Criticism of “Dalniy Vostok (Far East)” Magazine (the 1940-1950s)." Philological Sciences. Issues of Theory and Practice, no. 1 (January 2020): 14–17. http://dx.doi.org/10.30853/filnauki.2020.1.2.
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Babak, Galina. "AHAPII SHAMRAI IN SEARCH OF SYNTHETIC THEORY OF LITERATURE: 1920s." Слово і Час, no. 3 (June 20, 2022): 28–44. http://dx.doi.org/10.33608/0236-1477.2022.03.28-44.
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This article reconstructs the theoretical views of a literary historian and critic Ahapii Pylypovych Shamrai (1896—1952) in the context of perception of Oleksandr Potebnia’s philological and linguistic heritage — and at the same time in the context of the development of the formal method and sociological approach in Ukrainian literary criticism in the 1920s. The study offers a detailed analysis of Shamrai’s early work “O. Potebnia and the methodology
of the history of literature” (1924) in the connection with Russian formalists’ critical approach to Potebnia’s theoretical ideas. In his early work, Shamrai calls for a rethinking of Potebnia’s theory of the ‘inner form of the word’ and some of his other ideas, which, in his opinion, could be the basement for the further development of Ukrainian and Russian literary theory. Particular attention is paid to the study of a reader (audience) as a major component of literary analysis and interpretation. The idea of ‘studying a reader’ was crucial when Ukrainian scholars tried to combine two theoretical approaches — the formal and sociological methods. One of the best examples of such ‘synthetism’ in Ukrainian literary studies of the 1920s was Shamrai’s textbook “Ukrainian Literature. Brief overview” (1927, 1928), which is discussed in this article. The paper also argues that “synthetism” was inherent to the Ukrainian literary criticism of the 1920s in general. It was a theoretical framework used by many Ukrainian literary scholars, Oleksandr Biletskyi and Borys Jakubskyi being among them. Providing a historical context for Shamrai’s theories, the article also examines the historical and philological ideas of his older contemporary Oleksandr Biletskyi and estimates their influence on the development of Ukrainian literary criticism of that time
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Nikitin, Oleg V. "“We All Need Your Dictionary”: Letters to Sergey Ozhegov of the 1940s–1960s (To the 120th Anniversary of the Birth of the Scholar)." Voprosy leksikografii, no. 18 (2020): 133–49. http://dx.doi.org/10.17223/22274200/18/7.
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The publication presents previously unknown letters to Sergey Ozhegov of the late 1940s – early 1960s, which reveal facts of his scientific biography. The aim of this work is to introduce into scientific discourse rare archival documents on the history of Russian linguistics, and also to study linguistic polemics in the USSR in the era of the onslaught of the Marrism of the end of the 1940s. The main methods of studying the material are historical-linguistic, lexicographic, sociolinguistic and linguistic source analysis (search, decoding and commenting on archival texts). In the course of the research of documentary materials, the author has revealed new facts testifying to the change of a vector of scientific views on explanatory lexicography as a whole which, unlike the previous dictionary projects, was not adapted to academic needs, and first of all solved practical problems of explaining the actual lexicon of the 20th century. The article notes that one of the key issues of the dictionary work of that time was the interpretation of Sovietisms, on the one hand, and religious words and expressions, on the other. The archaic vocabulary (“merchant” and church elements) became the object of fierce criticism of Ozhegov’s opponents. Scholars and non-philological readers, polemicizing with Ozhegov, paid special attention to reviews and analysis of semantic, stylistic and cultural-historical realities of dictionary entries. Ozhegov’s respondents also discussed the difficult fate of the dictionary. The published letters contain semi-official reviews from both famous scholars (A.P. Evgenieva, Ya.M. Endzelin, R.R. Gel’gardt, J.V. Loja) and ordinary readers of The Dictionary, they reveal Ozhegov as a person of special gift loving his native language. These letters provide valuable material for the analysis of linguistic homeland studies of the period of struggle between the two ideologies in science. The letters reveal new facts of Ozhegov’s editorial work, discuss the criticism of the publication in the press, note its strengths and weaknesses. The article emphasizes the sociocultural aspect of Ozhegov’s interpretations and the ambiguity of their perception by contemporaries. The Dictionary is included in the context of general linguistic ideas by D.N. Ushakov and L.V. Shcherba. The high pedagogical value of this source is indicated. The published archival materials confirm a unique fact in the scientific practice of the mid-20th century: the emergence of a popular explanatory dictionary reflecting the cultural constants of the time and serving as a reliable tool for self-education. The article is of interest to historiographers of science, lexicologists and lexicographers, linguaculturologists, sociolinguists.
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Handayani, Sri Ana. "Geliat Ekonomi Masyarakat Priangan Era Pemerintahan Hindia Belanda 1900—1942." Lembaran Sejarah 13, no. 2 (February 27, 2018): 221. http://dx.doi.org/10.22146/lembaran-sejarah.33544.
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The aim of this research is to show the economic activity of the Priangan people during the rule of the Netherlands Indies Government between 1900-1940. The research focusses on the economic policies and discussions from the Netherlands Indies Government in reforming “native” economic life and its response by Priangan society. This study uses the historical method with four research stages, namely heuristic, criticism, interpretation, and historiography. The result of this research shows that state intervention in the local economic life was a failure, evidenced by the number of Priangan people in poverty. In the early twentieth century, sikep (landlord) became major reformers due to a new perspective that valued capital more than land . They succeeded to use their capital to develop micro industries, influencing the economic life of Priangan society. The society was able to creatively adapt to the new policy of economic liberalism. Based on their local wisdoms, the Priangan people created a new form of liberalism supported within their socio-cultural, economic, and political structures. This local liberalism formed the pattern of dynamic economic behaviour and nurtured the entrepreneurial spirit amongst the Priangan society.
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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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Gacheva, Anastasia G. "Overcoming Faust: Maksim Gorky in the Perception of Philosopher, Poet, and Aesthetician Aleksandr Gorsky." Studia Litterarum 6, no. 4 (2021): 314–43. http://dx.doi.org/10.22455/2500-4247-2021-6-4-314-343.
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The article examines the attitude of philosopher, poet, and aesthetician Aleksandr Gorsky to the personality and legacy of A.M. Gorky. It outlines the main directions of Gorky’s perception and interpretation by Gorsky. The article argues that Gorsky highlights vitality and projectivity of Gorky’s creative thinking, and considers him a consistent immortalist. The focus is on Gorsky’s unpublished work “Overcoming Faust” (1939–1940), a typical example of philosophical criticism that uses philological methods of analysis. Gorsky examines Faustianism through the prism of the rejection of individualism, which is specific for Gorky’s work. Considering the desire for knowledge and action as the defining feature of the Faustian consciousness, Gorsky notes that this desire is constrained and limited by the fact of human mortality and the recognition of the omnipotence of nature. The fact that Faustianism does not aim at overcoming death and eventually comes to terms with with it, allows Gorsky to see Faustianism as a bourgeois type of consciousness. Instead, Gorky, by standing against petty-bourgeois passivity in his work, raises the question about the means to overcome death. Gorky’s early fairy tale “The Girl and Death” is interpreted by Gorsky in the context of the development of life-affirming consciousness that overcomes death by the power of love and devotion to the common cause.
Dissertations / Theses on the topic "1896-1940 Criticism and interpretation"
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Kuxdorf, Stephanie. "Love in a machine age : gender relationships in the novels and short stories of F. Scott Fitzgerald." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59896.
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The primary purpose of this study is to examine the effects of the social and cultural revolution in post-World War One American society on gender relationships in F. Scott Fitzgerald's novels and a selection of his short stories. In his fictional works, Fitzgerald becomes a kind of social and cultural historian, reflecting the fundamental changes that began to occur in the 1920s. There were many factors that contributed to this Jazz-Age revolution in "manners and morals": the emancipation of women, giving rise to the American New Woman; the influence of Freud and his psychoanalytic theories on the already blossoming sexual revolution; and the mechanization and commercialization of all aspects of life in the machine age, drastically altering the way men and women had traditionally thought, behaved, and, communicated with one another.
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Papachristos, Katherine. "Le théâtre de Tristan Tzara : le passage de l'oralité à l'écriture." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=40221.
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This doctoral thesis analyzes the plays of Tristan Tzara, specifically La Premiere Aventure Celeste de Monsieur Antipyrine (1920), La Deuxieme Aventure Celeste de Monsieur Antipyrine (1920), Coeur a Gaz (1921) et Mouchoir de Nuages (1924).In the first part of our study we examine the production of (dramatic) language in its oral, graphic and written qualities. The dada language of the two drama-manifestoes tends to adopt a syllabic writing which defines itself as a sonorousness free of syntaxico-semantic contingencies. The writing in Coeur a Gaz is more graphic in that it defines linear writing in terms of its inscription in a bidimensional frame (list, table) which caracterizes theatre in itself. And while Mouchoir de Nuages adhers more closely to dramatic writing of a metadiscursive nature, the apparent linearity of the writing of this drama leads to the subversion of the stage writing (scenography) and therefore of theatre itelf.
In the second part of our thesis we study the question of language reception, indispensable for the understanding of the Dada phenomenon in particular and theatrical in general. The aleatory vocality La Premiere Aventure Celeste de Monsieur Antipyrine provoked a violent reception by the historical spectator of 1920, whose esthetic parameters (horizon of expectation) are analyzed. Insofar as Coeur a Gaz is concerned the performance of 1923 consecrated the rupture of Andre Breton with the Dada group and led to the birth of the surrealist movement. Finally, the revolutionary scenographic work of Mouchoir de Nuages radically modifies the scenic perception of the spectator and announces the pluralist art of the twentieth century.
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Koopmann, Jean-Philippe. "Interprétation des lieux dans cinq oeuvres en prose d'André Breton." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26740.
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This Master's thesis proposes to examine the place of space in five works by Andre Breton which are: Nadja (1928); Les Vases communicants (1932); L'Amour fou (1937); Arcane 17 (1945); Martinique charmeuse de serpents (1948). The first chapter of this thesis deals with the problem of space and its definitions through a sequence of seven authors who propose different perspectives. The second chapter explores the literary, the imaginary and the textual spaces in the aforementionned works while taking into account numerous surrealist concepts proposed by Breton.
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Pupo, Mark. "Homo Faber : Edmund White by Edmund White by Mark Pupo." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0022/MQ50560.pdf.
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Johnson, Andrew M. "Error and epistemological process in the Pentateuch and Mark's Gospel : a biblical theology of knowing from foundational texts." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1896.
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This thesis will consider the possibility of an epistemological process described in the narratives and teaching of the Pentateuch and the Gospel of Mark. The specific nature of this epistemological process will be explored upon the priorities constrained by the texts themselves. While the epistemological objectives are not always perspicuous to the reader of the canon, error is more clearly diagnosed in these narratives. This thesis then investigates the epistemological process by looking primarily at where characters of the narratives 'get it wrong' according to the narrative's diagnosis. Primacy appears to be given in these texts to heeding the authenticated and authoritative voice first, and then enacting the authoritative guidance in order to see what is being shown; in order 'to know'. Errors occur along the same boundaries. Failure to heed the authoritative voice creates a first order of error, while failure to enact the guidance yields a second order of error. We begin at the fore of the canon working through these Pentateuchal texts as they are presented to the reader. In the first chapter, the necessity of this current study will be defended. As well, we will survey various attempts at describing a 'biblical epistemology' and their deficiencies and/or methodological shortcomings. Chapter 2 will advance the case that Genesis 2-3 actually yields sufficient epistemological categories which resemble the rest of the Pentateuchal descriptions of error in more than superficial ways. Genesis 2 is analyzed as paradigmatic for proper epistemological process while Genesis 3 is paradigmatic of error. It is upon the boundary of the authenticated voice that error is assessed in the Garden of Eden. These patterns of error are lexically and conceptually reverberated in the stories of the patriarchs and Joseph. Chapter 3 then looks at how these features discovered in Genesis are interwoven in the reader's mind as they come to the stories regarding Moses' prophetic authentication, Pharaoh's errors, and eventually Israel's own errors. The errors of Balak with Balaam in Numbers are considered as further reason to believe that this epistemological process is not reserved for Israel. Chapter 4 explores the unique connections between Israel's Deuteronomic reflections and the creation narratives of Genesis. The fifth chapter leaps to the Gospel of Mark to discern whether or not any of these patterns from the Pentateuch remain in the Gospel narrative. In the final chapter, the fruit of our theological reading is brought forward to interact with current epistemological theories (mostly in analytic philosophy). These contemporary epistemologies are found wanting to describe anything like what we found in the scriptures. Implications are then drawn for theological prolegomena and praxis.
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Cooper, Shari Susan Friedman. "J.I. Segal, between two worlds." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63954.
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Vachon, Jean-Olivier. "L'artiste-passeur chez J. A. Loranger et G. Roy, et, La grange traversee." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32949.
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A thematic and formal analysis of Jean-Aubert Loranger's poetic tale "Le Passeur" [1920], and of Gabrielle Roy's novel La Montagne secrete [1962], shows that the construction of the two heroes' respective identity is directly related to the representation of small and large rivers in the two stories. Considering the generic difference between the two texts, these similarities---which are shaped up in a four steps "organizing scheme"---suggest the existence of a real structure in the construction of the modern identity (quebecoise). La Grande traversee, an historical novel about the massive Irish emigration of 1847, narrates the quest of identity of Seamus Doyle, while following the same four steps of this particular movement.
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Bonk, James Bruce. "Zheng Zhenduo and the writing of literary history in Republican China (1920-1940)." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99358.
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This thesis examines the institutionalization and practice of literary historiography in Republican China through the writings of Zheng Zhenduo (1898-1956). On the basis of a careful reading of Zheng's three book-length histories of Chinese and world literature, written from the early 1920s to late 1930s, the thesis questions the characterization of Republican literary historical scholarship as simply iconoclastic (vis-a-vis Chinese tradition) or derivative (vis-a-vis the West). It shows that Zheng's literary historiography was actually comprised of multiple and sometimes contradictory approaches to the past. These approaches were shaped, on the one hand, by the demands of a professional discipline that was constructed on the ideal of a universal literature but also faced with the task of integrating the Chinese people into history; and, on the other, by a confrontation and creative negotiation with earlier readings and valuations of Chinese literature.
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Ocaña, Karen Isabel. "Synthetic authenticity : the work of Angela Carter, Gilles Deleuze and Félix Guattari." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26748.
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This thesis constitutes an investigation into contemporary writing--both fictional and philosophical. More specifically, it is a comparative analysis of the work of British novelist Angela Carter, and French philosophers Gilles Deleuze and Felix Guattari, in the light of the concept of synthetic authenticity. It is divided into three chapters, "Becomings", "Events", and "Machines", and each chapter presents the work of both Carter and Deleuze and Guattari, respectively, in light of one of these topics. Chapter Two, however, focuses closely on Angela Carter's first novel, Shadow Dance, as it relates to the concept 'event'. And Chapter Three focuses on Carter's novel The Infernal Desire Machines of Doctor Hoffman, as it relates to and differs from the schizoanalytic notion of desiring machines.
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Fortier, Marie. "L'image de la femme dans les "grande proses" d'André Breton." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59881.
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Woman is an ever-present image in the prose poems Nadja, L'amour fou and Arcane 17 by Andre Breton. While the image incorporates several autobiographical references, this is not the revelation. With textual recurrence forming a thematic, topical thread, the image is seen in its poetic, symbolic and mythical dimensions. Woman offers a surrealist poet a rhetorical gift. In these works the image of woman acquires symbolic value. It is identified with Nature in its cosmic, telluric reality, rooted in the unconscious in its oneiric reality. It is epiphanic in that it gives access to the Other's vision. To the poet it represents, to use Carl Jung's hermeneutic, the archetypal figure of the Anima. In its mythical dimensions, finally, the image calls forth the great visions of femininity: Muse, Sprite, Fairy, Elf, Virgin...
Books on the topic "1896-1940 Criticism and interpretation"
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Vögele, Christoph. Niklaus Stoecklin, 1896-1982. [Winterthur]: Kunstmuseum Winterthur, 1996.
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Schmidt-Caroll, Erna. Erna Schmidt-Caroll: 1896-1964. Bönen: Kettler Kunst, 2003.
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Henry, Claridge, ed. F. Scott Fitzgerald: Critical assessments. Mountfield, East Sussex [England]: Helm Information, 1991.
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Moll, Eduardo. Carlos Revilla, 1940. Lima: Editorial Navarrete, 1991.
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Baena, Pablo García. Poesía completa (1940-2008). 3rd ed. Madrid: Visor Libros, 2008.
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Mājid, Jaʻfar. Jaʻfar Mājid, 1940-2009. [Tunis?]: Wizārat al-Thaqāfah wa-al-Muḥāfaẓah ʻalá al-Turāth bi-al-Taʻāwun maʻa Ittiḥād al-Kuttāb al-Tūnisīyīn, 2010.
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Poesía completa (1940-2008). 3rd ed. Madrid: Visor Libros, 2008.
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Baena, Pablo García. Poesía completa (1940-2008). 3rd ed. Madrid: Visor Libros, 2008.
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Thön, Beatrice. Heinrich Kamps 1896-1954: Monographie mit Werkverzeichnis. Pfinztal: Huth, 1992.
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Stutzer, Beat. Heinrich Danioth: 1896-1953 : Leben und Werk. Zürich: Verlag Neue Zürcher Zeitung, 1996.
Find full textBook chapters on the topic "1896-1940 Criticism and interpretation"
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Kaznina, Olga A. "The Book by I.A. Bunin “Liberation of Leo Tolstoy” in the Context of Russian Emigre Literary and Philosophical Criticism." In Russian Émigré Literature, 1920–1940. Writer in Literary Process (to the 150th Anniversary of I.A. Bunin’s Birth), 95–206. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0685-7-97-208.
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The present article is devoted to the multidimensional analysis of the book by I.A. Bunin “Liberation of Leo Tolstoy” (1937). Attention is devoted to the history of its creation and to its unique structure, combining the genres of memoirs, journalistic sketch, diary, epistles and literary portrait with philosophical contemplation. Special consideration is paid to the properties of style of the text as well as to the development of the artistic image of Leo Tolstoy. The center of the research is occupied by the problem of the spiritual and religious quest of Tolstoy in the latest decades of his life, to his multifaceted concept of liberation and also to the enigma of his last flight from Yasnaya Poliana. Bunin’s interpretations are investigated on the complex background of literary, philosophical and theological evaluations of Tolstoy’s worldview, as it took shape after the spiritual crisis of his later years. Different reactions to his final escape are also taken into account. The article reflects the positions of G. Adamovitch, V. Hodasevitch, V. Maklakov, I. Shahovskoy, S. Bulgakov, as well as many other literary critics, philosophers and theologians. Bunin’s book is investigated as a source for the studies of spiritual and intellectual quest on the verge of the centuries, i.e. the end of the 19th and the beginning of the 20th century. Bunin’s book is presented also in the context of Russian émigré literary and philosophical criticism.