Academic literature on the topic '1904-1973 Criticism and interpretation'
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Journal articles on the topic "1904-1973 Criticism and interpretation"
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Suwarno, Suwarno. "The Pattern of Relation of Muhammadiyah and Parmusi." Journal of Islamic and Muhammadiyah Studies 1, no. 2 (November 23, 2020): 25–33. http://dx.doi.org/10.21070/jims.v1i2.1065.
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This study aims to reveal the pattern of relations between Muhammadiyah and the Indonesian Muslim Party (Parmusi). In this study, the author used the historical research method, following four steps. First, heuristics or collection of primary and secondary sources centered at the Muhammadiyah Central Library of Yogyakarta, the National Library of Jakarta, and the National Archives Office of the Republic of Indonesia (ANRI) Jakarta. Second, source criticism which includes external criticism to test the authenticity and internal criticism to determine the credibility of the source. Third, the interpretation or interpretation of historical facts resulting from the second step by conducting analysis and synthesis. Fourth, historiography or writing of historical work. The results showed that in the process of founding Parmusi in 1968, Muhammadiyah had played an important role as a midwife born in Parmusi. In the development of Parmusi until this party merged in the United Development Party (PPP) in 1973, Muhammadiyah's relations with Parmusi showed a more ideological rather than organizational relationship pattern.
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Pearce, Brian. "Beerbohm Tree's Production of ‘The Tempest’, 1904." New Theatre Quarterly 11, no. 44 (November 1995): 299–308. http://dx.doi.org/10.1017/s0266464x00009283.
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Herbert Beerbohm Tree (1853–1917) is remembered today as a great character actor, as a personality, and as a wit: but as a producer he is seldom considered an important or even a positive influence on the course of Shakespearean interpretation in the twentieth century. Focusing on Tree's 1904 production of The Tempest, Brian Pearce argues that Tree was in fact an original and inventive director. Contrasting the faint praise or contempt of theatre historians with the adoption of many of Tree's ideas in later literary criticism of The Tempest, Pearce also suggests that the acceptance of the right of contemporary experimental directors to act in effect as ‘scenic artists’ sits oddly with attitudes to Tree's work, in which he fulfilled precisely such a role. Brian Pearce completed his PhD at the University of London in 1992, and since returning to South Africa has worked as a theatre director. He is a member of the board of directors of the Durban Theatre Workshop Company, and also teaches drama at Technikon Natal.
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Ponja, Dona, Yusra Dewi Siregar, and Anang Anas Azhar. "Dinamika Penyebaran Agama Islam di Kerajaan Siantar, 1904-1913." Warisan: Journal of History and Cultural Heritage 1, no. 2 (August 27, 2020): 55–60. http://dx.doi.org/10.34007/warisan.v1i2.521.
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This article discusses the dynamics of the spread of Islam in the Siantar Kingdom at the beginning of the 20th century. The interaction of coastal communities with inland areas through trade routes made this area then influenced by Islam. This study uses the historical method in four writing steps, namely; heuristics, verification or criticism, interpretation, and historiography, with a historical approach. After King Sang Naualuh Damanik embraced Islam, the development of Islam in this area spread quite massively. The king and the preachers and other court officials became the front guard in preaching Islam in Siantar. In the process of spreading, Islam also faced some serious challenges. First, there are still many Siantar people who embrace the religion of their ancestors (Habonaron Do Bona). Second, the entry of Christian missionaries from the RMG (Rheinische Missions Gesellschaft) organization from Germany, which was tasked with evangelizing the people of Simalungun and the coast of Lake Toba. With his increasingly active activities in preaching Islam, finally, Raja Sang Naualuh Damanik was arrested by the Dutch colonialists in 1905. The following year, he was exiled to Bengkasli, Riau. After the exile of the King, the spread of Islam in the Siantar region practically stopped.
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Osovskiy, Oleg E., and Svetlana A. Dubrovskaya. "G.M. Fredlender’s Review on M.M. Bakhtin’s “To the Issues of the Methodology of the Aesthetics of Verbal-artistic Creativity”." Studia Litterarum 7, no. 4 (2022): 316–35. http://dx.doi.org/10.22455/2500-4247-2022-7-4-316-335.
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The article presents G. Friedlander’s peer-review on M. Bakhtin’s manuscript of the collection of works. This is the first publication of G. Friedlander’s text written at December 26, 1973. It provides the detailed analysis and assessment of Bakhtin’s book that was published in 1975 under the title “Questions of Literature and Aesthetics.” Highly assessing the scholar’s contribution to Russian literary criticism, the reviewer underlines the innovative nature of the previously unpublished articles in the collection. Bakhtin’s attitude to the “formal school” and his criticism of “material aesthetics” are also important to him. It allows G. Friedlander to name Bakhtin among the most authoritative opponents of structuralism and other schools of Western literary criticism. The most significant to the reviewer are Bakhtin’s discoveries in the field of historical poetics, primarily in the history and theory of the novel. One of the points of G. Friedlander’s disagreement was the interpretation of Gogol’s laughter in the context of Rabelais’ work. The publication of the review is accompanied by the preface, which reconstructs the context of the reception of Bakhtin’s ideas in the late Soviet era, indicates the points of dialogue between G. Friedlander and M. Bakhtin in the 1950s–1970s. The publication is provided with notes.
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Mumovic, Ana M. "DAM ON THE GREAT RUSSIAN SEA (Contribution to the interpretation of the Review of the History of Serbian Literature by A. N. Pipin)." Folia linguistica et litteraria XII, no. 35 (2021): 117–36. http://dx.doi.org/10.31902/fll.35.2021.6.
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The paper aims is to present and evaluate the Review the History of Serbian Literature A. N. Pipin's as a classical history of Serbian literature that became part of the national culture. The development of the history of literature among Serbs, as an independent discipline and its modest beginnings, can be found in the first decades of the 19th century, in the time of Dositej and Vuk. In its beginnings, the history of literature was a "story" about the literary past of a nation and at its core was - criticism. This main idea as an axiom is a signpost that leads from the history of literature, which has long performed the function of criticism, to the genesis of literary criticism as the youngest branch of literary science and the way it formulated and exercised its functions in conditions when literary history was in a certain measures and history of the people. The Serbs received the first History of Serbian Literature (1865) from the pen of Pavel Jozef Šafarik (1795–1861), a Protestant and German student who served in Novi Sad. The next history of Serbian literature was also written by a foreigner, the Russian Alexander Nikolaevich Pipina (1833–1904). His Review the History of Serbian Literature (1865) has not been fully translated into Serbian. When marking questions from the new Serbian literature, Pipin's approach leads to a synthesis of ideas about cultural and political and national development. Slavery replaced the idea of revival "among Orthodox Serbs who fled to Austria". From that perspective, he views the development of national literature as an important part of culture and identity. Pipin also deals with the issue of national identity and the awakening of the national consciousness of the Slavs in his extensive study "Panslavism in the Past and Present" (1878), in which "the Serbian national question is incorporated into the general critique of Russian official policy and Slavophile orientation in the Balkans during Eastern Europe crisis". In this paper, we value his competence, cultural mission, the gift of the comparator, without which there is no great literary historian, and his practical contribution to classifying Serbian literature and culture in the European context.
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Mahasin, M. Zaki, Yety Rochwulaningsih, and Singgih Tri Sulistiyono. "Ecological Mapping for the Development of Salt Production Centres in Indonesia during the Dutch Colonial Era." E3S Web of Conferences 317 (2021): 04024. http://dx.doi.org/10.1051/e3sconf/202131704024.
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This paper examines why the Dutch colonial government did ecological mapping for the development of salt centres in Indonesia and how it was carried out? It is analysed by historical method which includes heuristics, criticism, interpretation and historiography. Ecological mapping was carried out by the Dutch colonial government for the development of salt production centre sourced from sea water. It is the important factor to develop salt production centres concerning the situations of the coastal area in which sloping parallel to sea level, humid, dry air temperatures, low rainfall, non-porous soil types, and high wind speeds. The wind speed required for salt production is at least 5 m/sec, with air temperatures above 32o C during the day, as well as a maximum humidity of 50%. During the Dutch colonial government, it was recorded that in 1904-1917 the average wind speed was above 5 m/sec. Continued with the development of the salt production ecosystem, which includes the establishment of production areas equipped with bozem development, land layout, etc. By the ecological mapping, the salt development centre areas cover coastal area of Madura, several areas of Java’s north coast, and coastal areas of Sulawesi, including Jeneponto.
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Fadilah, Nurul, M. Dahlan, and Syamzan Syukur. "PRESERVATION OF ROTTERDAM FORT POST BONGAYA AGREEMENT IN MAKASSAR." Jurnal Diskursus Islam 9, no. 1 (April 4, 2021): 11. http://dx.doi.org/10.24252/jdi.v9i1.17792.
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The purpose of this study was to clear analyze the existence of Fort Rotterdam and its preservation after the Bongaya agreement in Makassar. This study uses the steps in writing history, namely heuristics, criticism, interpretation and becomes a historiographical work with the literature study method. The results of this study indicate that First, Ujung Pandang Fortress have built by the Kingdom of Gowa to defend the greatness and dignity of the Gowa kingdom from colonial threats. This fort is one of the guard forts of the main fortress of Somba Opu, which is the center of the Kingdom of Gowa. After the Gowa kingdom lost the Makassar war and confirmed by the Bongaya Agreement on 18 November 1667, the Ujung Pandang fort fell into the hands of the VOC (Netherlands Indies Trade Association) and changed its name to Fort Rotterdam and as a spice-trading center from east to west. Second, the preservation of the fort after the Bongaya Agreement, namely during the Japanese occupation. The fort have used as a center for language and agricultural research activities, after that in 1973 after independence the fort changed its function as the National Institute of Antiquities and Heritage, which is currently known as the Cultural Heritage Conservation Center and Museum La Galigo.
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Rošker, Jana. "A Chinese View on the Cultural Conditionality of Logic and Epistemology: Zhang Dongsun’s Intercultural Methodology." Asian Studies, no. 3 (December 1, 2010): 43–60. http://dx.doi.org/10.4312/as.2010.14.3.43-60.
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Recognizing the fact that comprehension, analysis and transmission of reality are based on diversely structured socio-political contexts as well as on different categorical and essential postulates, offers a prospect of enrichment. Thus, this article presents an analysis and interpretation of one of the first Chinese theoreticians, working in the field of intercultural methodology. Although Zhang Dongsun (1886–1973) can be considered as one of the leading Chinese philosophers of the 20th Century, his criticism of Sinicized Marxist ideologies marked him as a political dissident and he was consequently consigned to oblivion for several decades; only recently has his work been rediscovered by a number of younger Chinese theorists, who have shown a growing interest in his ideas. Although he is still relatively unknown in the West, Zhang definitely deserves to be recognized for his contributions to Chinese and comparative philosophy. The present article focuses on his extraordinary ability to introduce Western thought in a way which was compatible with the specific methodology of traditional Chinese thought. According to such presumptions, culture is viewed as an entity composed of a number of specific discourses and relations. The article shows how the interweaving and interdependence of these discourses form different cultural backgrounds, which manifest themselves in the specific, culturally determined structures of language and logic. It also explains the role of traditional elements in his cultural epistemology.
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Pedersen, Kim Arne. "Nekrolog over Kaj Thaning." Grundtvig-Studier 45, no. 1 (January 1, 1994): 8–15. http://dx.doi.org/10.7146/grs.v45i1.16140.
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Kaj Thaning 4.6. 1904 - 6.6. 1994By Kim Arne Pedersen.A few days after his ninetieth birthday, Kaj Thaning died peacefully in his home in Båring, where he had been a clergyman for a generation, and where his monumental work, the thesis .Man First.... was made ready for publication in 1963. Kaj Thaning was bom into a family with roots in influential circles of Grundtvigianism, but as a young undergraduate he came into contact with the Danish Tidehverv movement which introduced the dialectic theology in Denmark. Together with a number of other young theologians Kaj Thaning was connected with both Tidehverv and Grundtvigian circles, and the group was consequently termed .Tidehverv Grundtvigianism.. Thaning became the Grundtvig interpreter within this group, and published his interpretations in a number of books and articles, and a precis of the main thoughts in his thesis was translated into a number of foreign languages in connection with Grundtvig’s anniversary in 1972. Thaning was a vicar through the greater part of his life, but was also deeply engaged in numerous other activities: establishing a folk high school, participating in debates on topical issues, and, in co-operation with the pioneers of the Grundtvig Society, working out the register of Grundtvig’s unprinted manuscripts, a work amply demonstrating his impressive abilities as a research historian. Thaning was a member of the Grundtvig Society Committee from 1948. As early as 1949 he wrote his first major article in Grundtvig Studies, and until recent years he contributed a large number of long or short papers to the yearbook, always impressive in their profundity and perspicacity. As an interpreter of Grundtvig, Thaning has reached far beyond the academic circles to which scientific research is usually restricted. Thaning’s thesis - that the modem relevance of Grundtvig’s writings is closely bound up with his struggle with his personal mixture of the human and the Christian - has had a decisive influence on the Danish cultural and theological debate in the years after World War II, in that it matches with Denmark’s development from an agricultural to an industrial and urban society, and with the decreasing influence of the religious revival movements. Thaning’s secular-theological emphasis on the separation of the human and the Christian as the essential theme in Grundtvig’s writings legitimized this development, but at the same time Thaning’s thesis bore evidence of a profound personal struggle and of a theologically thoroughly contemplated interpretation of Grundtvig, encompassing his entire work. All the same, it seems fair today to view Thaning’s thesis in the light of the theological currents he met on his way, a theological-historical view which may be understood in continuation of the criticism of Thaning’s thesis, raised by recent Grundtvig research, seeking its arguments in incarnation theology. In recent years, this criticism has paved the way for a renewed occupation with Grundtvig’s liturgical theology, and has been able to fertilize Grundtvig’s thoughts in an international, ecumenical-theological context. Thaning, however, was unaffected by this criticism; he remained forever prepared to raise objections to his critics. Thus, from recent years, the present writer remembers Thaning’s unremitting and unyielding defence of his thesis, but also his kindness and helpfulness in connection with the present writer’s first attempts in Grundtvig research.The fact that Thaning’s position has been abandoned in modem research does not weaken the greatness of his work. Thaning’s critics, too, have been - if adversely - influenced by his thesis, whose definition of the relationship between the human and the Christian has left an indelible trace in Danish theology.
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Bartnæs, Morten. "Freud's ‘The “Uncanny”’ and Deconstructive Criticism: Intellectual Uncertainty and Delicacy of Perception." Psychoanalysis and History 12, no. 1 (January 2010): 29–54. http://dx.doi.org/10.3366/e1460823509000531.
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Freud's ‘The “Uncanny”’ (1919) has been the object of a singular growth of interest, though mainly outside the realm of psychoanalysis. The article owes its present prominence in the humanities to its reception and appropriation by readers associated with deconstruction, starting with Jacques Derrida, and continuing with the influential interpretations of Hélène Cixous (1972), Samuel Weber (1973) and Neil Hertz (1985). The present article discusses some characteristics of the deconstructive reception of ‘The “Uncanny”’, and points out the limitations it puts on the understanding of Freud's text.
Dissertations / Theses on the topic "1904-1973 Criticism and interpretation"
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Crew, Teresa Ammons. "A creative interpretation of the short stories of Kate Chopin through dramatic play-manuscripts." Thesis, University of Wales Trinity Saint David, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683263.
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Tracey, Linda. "Graham Greene : the link to fantasy." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61315.
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Graham Greene has stated that he believes there to be an undercurrent of fantasy running through all of his work that has largely gone unnoticed by his critics. Within the context of any discussion on Greene can be found a starting point for an evaluation of his work in terms of the fantastic and fantasy. Eric S. Rabkin defines fantasy as the inverse of reality. In a fantasy world, the ground rules, expectations, and perspectives of everyday experience are reversed, or diametrically opposed, and the effect is a sense of hesitation and wonder. All of Greene's fiction describes worlds divided. He constructs borders that continuously separate people, places, situations, motivations, perspectives, objectives, and states of mind. Each side of the border describes a world that is the opposite of the other. The reality of one side is turned over on the other side, and life on the border is unpredictable and uncertain. The concept of alternate realities and other worlds which characterize fantasies, can be applied to all of Greene's works in general, and more specifically to a particular group of the fiction which exhibits a much higher degree of fantastic content.
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Podlasli, Heidi M. "Freedom and existentialist choice in the fiction of Kate Chopin." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/774759.
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Kate Chopin, 1851-1904, gained national fame when her local color stories became published in acclaimed magazines such as Vogue and the Atlantic. Her novel, The Awakening (1899), however, criticized for its controversial content and its heroine, Edna Pontellier, whose ambiguous actions and final suicide were focus of the critical attention, received only negative reactions and silenced Chopin as a writer. Interpretations by feminists, realists, or culturalhistorians proved insufficient in their attempts to explain the dilemma of the heroine. Approached from an existentialist point of view, the novel seems to derive new meaning, but the few extant critical discussions remain either too superficial or too general in scope. A thorough explication of J.-P. Sartre's existentialism, in particular, however, would provide a fresh, insightful interpretation not only of The Awakening, but also of selected short stories that had critics equally torn when faced with the seemingly ambivalent decisions of their heroines.Following the literature review of Chapter I, Chapter II will provide background information on Sartrian existentialism while focusing on such terms as anguish, bad faith, and authenticity that are especially relevant for a better understanding of Chopin's works. How several of her short stories and The Awakening will derive new significance when approached from an existentialist perspective will be shown in Chapters III and IV, respectively, the interpretation mainly centering on the argument that the dilemmas of the heroines, formerly described as "female" or "romantic," are essentially "human" and derive universal, therefore existential significance. Finally, I will try to account for Kate Chopin's "existentialism" in Chapter V by not only taking a closer look at the social issues she was surrounded by, and also her personal life that was the foundation of her thinking, being expressed in ideas that would put her way beyond the "Zeitgeist" of her times.Department of English
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Wakefield, Steve School of Modern Languages UNSW. "Returning Medusa's gaze : Baroque intertext in Alejo Carpentier." Awarded by:University of New South Wales. School of Modern Languages, 2003. http://handle.unsw.edu.au/1959.4/19141.
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This thesis studies the concept of the baroque as applied to the works of the Cuban novelist Alejo Carpentier (1904-1980). It revisits the original inspiration that the writer found in baroque architecture and sculpture, as expressed in the articles he wrote from Spain in the early 1930s, and follows his use of baroque culture in each of his novels. It is found that, through his attempt to create a period ambience for his historical fictions by incorporating into his novels descriptions of the art and architecture of the Baroque era, and by imitating the literary style of Spanish Golden Age writers, he ultimately produced a parodic and ironic style that was put to a highly original use even in those works set in the contemporary period. Finally, the mature works produced in the last decade of Carpentier's life are studied, and the continuities and discontinuities between these works and those of previous periods are examined, in order to arrive at a critical assessment of the potential to renovate the Latin American novel created by this writer's use of the baroque. Throughout this thesis the primary focus is placed upon the role played by the visual arts, including architecture, in Carpentier's development of baroque themes and style, a secondary focus being placed upon literary influences. Thus the importance for Carpentier of various writers and artists is examined, such as Cervantes, Quevedo, Piranesi, Vico, Goya, Barr????s and d'Ors. It is found that Carpentier's use of baroque themes, motifs and style enabled him to make a unique contribution to literature in a number of ways: by creating an original means of representing the position of the individual with regard to society and the historical process, by reevaluating Latin American culture and environment vis-????-vis is Europe, and by adopting a postcolonial perspective of cultural self-assertiveness that was to pave the way for the 'boom' in the Latin American novel.
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Stratford, Madeleine. "Entre les mots et les silences : la crise créative (et existentielle) dans la dernière phase de la poésie de Ingeborg Bachmann et de Alejandra Pizarnik." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19611.
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This master's thesis seeks to establish a comparison between the lyrical work of the Austrian Ingeborg Bachmann (1926-1973) and the Argentinean Alejandra Pizarnik (1936-1972). First, we draw from the similarities in the lives of both authors. Then, the survey of secondary literature shows that the two writers were the «black sheep» of their literary generation. Finally, our analysis focuses on the last phase of their lyrical production (1963-1966 for Bachmann; 1970-1972 for Pizarnik), most especially on two poems which are considered by the critics to be their «farewell» to poetry : «Keine Delikatessen» [No delicacies] by Bachmann (1963) and «En esta noche, en este mundo» [In this night, in this world] by Pizarnik (1971). We demonstrate that both poets show the same distrust of their medium, language, accompanied by a particular concern for silence, which appears in their respective poems both thematically and formally.
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Johnston, Kelly Scott. "R. Joseph della Reina and his damnation in the fiction of I. B. Singer." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31115.
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The following thesis focuses on the medieval kabbalistic legend of R. Joseph della Reina who, using traditions of esoteric magic, conjured Satan in order to slaughter him in an unsuccessful bid to force the Redemption of Israel. A translation of a version from eighteenth century Amsterdam is presented. Influenced by the heretical ideas of Sabbatianism, this version carries two opposing significations: that of a cautionary tale on one hand, that of a tragic tale of mystical heroism on the other. Based on evidence from the fiction of Isaac Bashevis Singer, the case is made that the modern author, in line with his philosophy of political passivism and historical pessimism, makes full use of the Faustian fascination of R. Joseph della Reina's fearsome story while repeatedly presenting the legend in such a way as to purge it of traditional ambiguity, undermine its tragic character, and leave behind only the aspect of caution or warning.
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Laue, Ingrid Elizabeth. "Pictorialism in the fictional miniatures of Albert Paris Gütersloh." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27367.
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The purpose of this study has been to investigate and analyze the "fictional miniatures," i.e., the short prose works, of Albert Paris Gütersloh. The assumption was that a marked interrelationship exists between these and Gütersloh's painted miniatures. Given the fact that Gütersloh was both writer and painter, and since many of the questions which logically arise out of this duality either have not been addressed at all in the scholarly literature on Gütersloh, or dealt with only superficially, it was felt that the approach used in the present study had to focus, to some extent, on the artist's dual talent. The study attempts to illustrate Gütersloh's artistic nature in conjunction with an investigation of one area of artistic expression, namely the short fictional works.
The method was one of proceeding from the general to the particular, i.e., by first examining the complex phenomenon of the "painting writer," or "writing painter," as well as the widely discussed notion of "reciprocal illumination" of the arts. This, together with the detailed analysis of scholarly works on Gütersloh as well as his own theoretical writings on art was seen as part of the necessary "anatomy" of the study. Although the narrational quality of the painted miniatures has been alluded to by several other critics, the inherent similarity between Gütersloh's painted and "literary miniatures" (i.e., his short prose works) is being analyzed for the first time in this study. It aims at proving the claim that the former's overriding characteristic is their distinctly narrational quality. As such the paintings are permeated with a writer's imagination, a feature which makes their narrative component as important as the pictorial. Each of these small-scale paintings depicts some crucial point in a "story," thereby forcing the viewer to imagine a "before" as well as an "after" of each specific scene — in other words, to see these paintings in epic terms.
By isolating such elements as delineation, framing, staging, setting, and colour (both descriptive and metaphorical) among others, it could be shown that the fictional miniatures give evidence of Gütersloh's persistent inclination to think, and write, in "pictures," hence to work from a largely pictorial conception: the story-line frequently is developed as a series of static "pictures" which are given as much compositional weight as the chronologically progressing plot. It could also be demonstrated that the general phenomenon of Fantastic Realism is a pronounced feature not only of the painted but also of the literary miniatures.
The conclusion the study reaches is that Gütersloh's artistic expression, whether as writer or painter, is of a much more unified nature than has previously been argued; that both forms of artistic expression are of a complementary
nature, and that this phenomenon is exemplified most succinctly in his fictional miniatures.Arts, Faculty of
Central Eastern Northern European Studies, Department of
Graduate
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Lemieux, Martha. "The evolution of irony in the short stories of Chekhov /." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60576.
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In the corpus of Chekhov's prose there is a perceptible evolution in his use of irony. This study involves an examination of the use of irony in the initial, middle and final phases of his artistic career. It will demonstrate that in the initial phase, Chekhov's use of irony was direct and overt; in the middle phase, it was more deliberate and covert; and in the final phase, it was subdued, more transparent and transcendent. Selected stories taken from all three periods will illustrate this evolution.
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Ziskin, Gregory. "The main principles of Chekhov's dramatic technique /." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61256.
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The purpose of the present study is to analyze the structural techniques and genre of Chekhov's plays.The many books and articles published on Chekhov's plays far exceeds his own works. Although there have been numerous studies analyzing the structural techniques of his play, considerable controversy still exists among literary and theatre scholars regarding the genre of his plays. Most of the studies simply avoid this complex and intricate problem.
In this study particular emphasis is also placed on the dramatic techniques used by Chekhov: the sequence of events, the nature of the roles and the so-called "unfinished" endings.
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Robb, Paul H. "Graham Greene's use of evil in selected novels." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/533881.
Full textBooks on the topic "1904-1973 Criticism and interpretation"
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Das Werk Pablo Nerudas im zeitlichen Wandel. Frankfurt am Main: P. Lang, 1999.
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A companion to Pablo Neruda: Evaluating Neruda's poetry. Woodbridge, Suffolk, UK: Tamesis, 2008.
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Costa, René de. La poesía de Pablo Neruda. Santiago de Chile: Editorial Andrés Bello, 1993.
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Scipione. Scipione, 1904-1933. Roma: De Luca, 1985.
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(Italy), Macerata, and Cassa di risparmio della provincia di Macerata., eds. Scipione, 1904-1933. Roma: De Luca, 1985.
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1904-1977, Ulrich Guglielmo, ed. Guglielmo Ulrich (1904-1977). Milano: F. Motta, 2009.
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Wilms-Adrian, Angela. Hans Lünenborg, 1904 geboren. Bergisch Gladbach: J. Eul, 1987.
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Thaḷī, Prakāśa. Lakshmaṇarāva Saradesāya, 1904-1986. Phoṇḍe, Gõya: Govā Koṅkaṇī Akādemī, 2001.
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Chrēstou, Chrysanthos. Vrasidas Tsouchlos, 1904-1981. Athēna: Apopsē, 1988.
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Srečko Kosovel, 1904-1926. Koper: Zal. Lipa, 1986.
Find full textBook chapters on the topic "1904-1973 Criticism and interpretation"
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Fairfax, Daniel. "Afterlives of the Apparatus." In The Red Years of Cahiers du Cinéma (1968-1973). Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463728508_ch06.
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In this chapter, the focus lies on the “afterlives” of Cahiers du cinéma’s post- 1968 period in Anglo-American film studies since the latter’s consolidation as an academic discipline in the 1970s. Championed by journals such as Screen, the writings of the Cahiers critics attained a wide purchase in the nascent field, but this often came at the expense of a reductive interpretation, compounded by the limited corpus of available translated texts, and in later decades many of the positions associated with Cahiers increasingly came under attack, while even its defenders admitted to the state of crisis that the “political modernism” it represented had entered. But this chapter also shows the wider influences that Cahiers has had on film scholarship, such as the importance of Comolli for the rise of the “new film history” movement, and it concludes by stressing the necessity for a productive re-reading of the original Cahiers texts.