Academic literature on the topic '1905-1973 Criticism and interpretation'
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Journal articles on the topic "1905-1973 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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Saputra, Irwansya, Patahuddin Patahuddin, and Bahri Bahri. "Politik Etis Kerajaan Soppeng 1905-1942." Jurnal Pattingalloang 7, no. 1 (April 1, 2020): 68. http://dx.doi.org/10.26858/pattingalloang.v7i1.12513.
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Penelitian ini membahas mengenai latar belakang penerapan politik etis di Kerajaan Soppeng, bentuk penerapan dan dampak dari politik etis di Kerajaan Soppeng. Penelitian ini menggunakan metode penelitian sejarah yang terdiri dari empat tahapan, yaitu heuristik (mencari dan mengumpulkan sumber), kritik sumber (kritik intern dan ektern), interpretasi (penafsiran sumber) dan historiografi (penulisan sejarah). Metode pengumpulan data dilakukan dengan cara melakukan penelitian lapangan terdiri dari wawancara dan mengumpulkan sumber arsip serta literatur-literatur yang berhubungan. Berdasarkan hasil pelitian ini menunjukkan bahwa masuknya pengaruh Hindia Belanda di Kerajaan Soppeng pertama kali Pada tanggal 25 September 1905 dan menenpatkan diri sebagai penguasa di Kerajaan Soppeng. Semenjak berkuasa, Belanda Menerapkan kebijakan politik etis, dimana kebijakan ini meliputi pembangunan 14 sekolah dan dibangunya 12 irigasi di Wilayah Kerajaan Soppeng. Wilayah ini menjadi perhatian pihak Belanda karena kondisi masyarakat yang terbelakang dalam bidang pengetahuan dan potensi pertanahan dan pertanian yang subur di wilayah ini patut untuk dikembangkan. Dari hasil penelitian ini, dapat disimpulkan bahwa masuknya Belanda di Kerajaan Soppeng telah memeberikan dampak positif bagi kaum pribumi, hal ini dikarenakan masuknya Belanda telah mengajarkan konsep pendidikan formal serta tata cara mengelola pertanian dengan moderen seperti, membangun irigasi di Kerjaan Soppeng pada saat itu. Adapun dampak negatif ialah banyaknya kebiasaan lokal yang berubah. Kata Kunci : Politik, Etis, Kerajaan, dan Soppeng Abstract This research is discuss about the background of the application of Ethical Politics in the Kingdom of Soppeng, the terms of application and the impact of ethical politics in the Soppeng Kingdom. This research is using historical research method which consists of four stages, which is heuristics (searching and gathering sources), source criticism (internal and external criticism), interpretation (source interpretation) and historiography (history writing). The method of data collection is done by conducting field research consisting of interviews and collecting archives and related literatures. Based on the results of this research shows that the entry of the influence of the Dutch East Indies in the Kingdom of Soppeng was the first time on September 25th, 1905 and established itself as a ruler in the Kingdom of Soppeng. Since coming to power, the Netherlands has implemented an ethical political policy, which includes the construction of 14 schools and the construction of 12 irrigation systems in the Soppeng Kingdom Area. This region is concern to the Dutch because the backward condition of the community in the field of knowledge and the potential for fertile land and agriculture in this region deserves to be developed.From the results of this study, it can be concluded that the entry of the Netherlands in the Kingdom of Soppeng had a positive impact on the natives, this is because the Dutch entry had taught the concept of formal education and procedures for managing agriculture in a modern way, such as building irrigation in the Soppeng Work at that time. The negative impact is that many local habits have changed. Keyword : politics, Ethical, Kingdom, and Soppeng
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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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Garbuz, G. V. "“Dirty Period”: Freedom of Speech in the Russian Province in 1905–1913 through the Eyes of the Local Administration." Modern History of Russia 12, no. 2 (2022): 358–71. http://dx.doi.org/10.21638/11701/spbu24.2022.206.
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Using memoirs, journalism, business correspondence, and heads of provincial administration late Imperial Russia, this article examines attitudes to freedom of speech imposed by the Manifesto of 17 October 1905. The democratic freedoms granted from the crown at one of the most tense moments of the first Russian revolution were immediately and actively used by the liberation movement to fight the existing system, which predetermined the further negative attitude towards them from the tsarist bureaucracy. The owners of the provinces were not used to open criticism of their actions by various social forces, and the identification of government repression with their names in the opposition press was perceived as a threat to their own lives. The heads of the provincial state apparatus expressed dissatisfaction with the fact that freedom of speech had ruined their monopoly on the interpretation of state policy and evaluation of social processes. Administrative repression and prosecution prevented the bureaucracy from fully taking control of the independent press, which was the main expression of freedom of speech in this historical period, and in the eyes of local administration leaders, the main troublemaker in provincial society. In relation to freedom of speech, representatives of the provincial administrative elite regret the inability to squeeze this phenomenon of public life into the usual bureaucratic framework. Their administrative mentality, formed by a long career in the autocratic bureaucracy, did not allow them to adequately perceive democratic changes in public life.
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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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Kuznetsova, Ekaterina V. "Traditions of franciscanism and pilgrimage in the life and work of A. Dobrolyubov." Verhnevolzhski Philological Bulletin 2, no. 25 (2021): 19–30. http://dx.doi.org/10.20323/2499-9679-2021-2-25-19-30.
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The fate and personality of Alexander Dobrolyubov gave rise to a kind of Dobrolyubov myth about the eternal wanderer in the culture of the Russian Silver Age and in many ways unfairly obscured his literary work. The article traces the influence of Francis of Assisi on Dobrolyubov's own life-creating strategy and his contemporaries' perception of him as a «Russian Francis. The author considers the peculiarities of artistic interpretation of the whole complex of motifs associated with the fate and personality of the Italian saint in the last collection of Dobrolyubov's works, From the Book Invisible (1905). The author analyzes the image of the pilgrim, glorification (preaching) of the poor, hermit’s life and the unity of man and wildlife, plants and the elements of nature in the context of teachings of St. Francis and the Russian franciscanism of the modernist era; the features of their modernist reception are traced in Dobrolyubov’s works written after his «departure». On the other hand, the author reveals evidence that the poet implements the individual author's interpretation of the characteristic Russian cultural and historical phenomenon of pilgrimage (real, metaphysical and spiritual), which was reflected, for example, in N. S. Leskov’s works, and philosophically interpreted in science and criticism of the early 20th century (V. Rozanov, N. Berdyaev, etc.). The author suggests that the poet was influenced by an anonymous work of Russian religious literature «A Pilgrim's Confessional Stories to his Spiritual Father». As a result, the author concludes that the poet creates a modern variation of the Franciscan image of the «simple man» and the divine man, possessing the gift of communication with nature, who combines the features of an Italian ascetic preacher with the type of a Russian pilgrim-god-seeker.
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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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Muchlis, Musdalifah, and Jumadi Jumadi. "Sekolah Rakyat di Enrekang, 1950-1959." Jurnal Pattingalloang 6, no. 2 (August 17, 2019): 88. http://dx.doi.org/10.26858/pattingalloang.v6i2.12144.
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Penelitian ini bertujuan untuk mengetahui kondisi pendidikan di Enrekang sebelum tahun 1950, sistem pendidikan sekolah rakyat dan perkembangan sekolah rakyat di Enrekang tahun 1950-1959. Sistem dan perkembangan sekolah rakyat dalam penelitian ini berfokus pada kebijakan pemerintah, partisipasi masyarakat, guru sekolah rakyat, minat murid, kondisi dan peralatan sekolah. Jenis penelitian ini adalah penelitian Kualitatif, dengan menggunakan metode sejarah melalui tahapan: heuristik (pengumpulan sumber), kritik sumber, interpretasi, dan historiografi. Hasil penelitian menunjukkan bahwa sekolah rakyat sudah ada pada masa pemerintahan Belanda tahun 1905 sedangkan di Enrekang tahun 1926 namun nama Volkschool. Nama sekolah Rakyat dipakai setelah Indonesia merdeka. Kondisi Sekolah rakyat di Enrekang sebelum tahun 1950 masih dalam keadaan terbelakang namun setelah lima tahun merdeka keadaan sudah semakin membaik. Sistem pendidikan sekolah rakyat setelah kemerdekaan terutama dalam kurikulum yang awalnya hanya belajar membaca, menulis dan berhitung kini semakin bertambah.seperti contohnya belajar sejarah. Sekolah rakyat di Enrekang mengalami perkembangan di lihat dari semakin banyaknya sekolah yang berubah dari SR 3 atau 4 menjadi 6 tahun karena jumlah siswa bertambah. Perkembangan tersebut karena adanya peran aktif masyarakat dan pemerintah yang turut andil dalam kemajuan pendidikan.Kata Kunci: Sekolah rakyat dan Enrekang.AbstractThis study aims to determine the condition of education in Enrekang before 1950, the education system of public schools and the development of community schools in Enrekang in 1950-1959. The system and development of community schools in this study focused on government policy, community participation, community school teachers, student interests, school conditions and equipment. This type of research is a qualitative study, using the historical method through stages: heuristics (source collection), source criticism, interpretation, and historiography. The results showed that the people's school had existed during the Dutch administration in 1905 while in Enrekang in 1926 the name was Volkschool. The name People's school was used after Indonesian independence. The condition of people's schools in Enrekang before 1950 was still underdeveloped, but after five years of independence the situation had improved. The education system of the people's schools after independence, especially in the curriculum which initially only learned to read, write and count is now increasing. For example studying history. Public schools in Enrekang are experiencing growth in view of the increasing number of schools that change from SR 3 or 4 to 6 years as the number of students increases. This development was due to the active role of the community and the government that contributed to the progress of education.Keywords: Community school and Enrekang
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Mlikota, Jadranka, and Rene Čipanj Banja. "O Bojničićevoj Gramatici madžarskoga jezika iz drugoga kuta: uzroci i narav mijena izdanja gramatike na razmeđu dvaju stoljeća." Studia Slavica Academiae Scientiarum Hungaricae 66, no. 2 (January 16, 2023): 341–58. http://dx.doi.org/10.1556/060.2022.00018.
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U sjeni Bojničićeva rada, obilježenoga iznimnim prinosom hrvatskoj kulturnoj povijesti i pomoćnim povijesnim znanostima, ostala je Gramatika madžarskoga jezika (1888., 1896., 1905., 1912.) koja je na razmeđu dvaju stoljeća, u vrijeme smjene filoloških škola (zagrebačke školom hrvatskih vukovaca), doživjela nekoliko izmijenjenih izdanja. Gramatiku je – točnije njezino prvo izdanje – kao udžbenik odobrio Odjel za bogoštovlje i nastavu Kr. ugarskoga ministarstva, potom ju nagradio 1889., a naposljetku je ipak negativno ocijenjena, i to u službenom glasilu istoga Odjela koji ju je i nagradio, u Nastavnom vjesniku, a gotovo jednako ocijenit će ju i neki mađarski izvori početkom 20. stoljeća.Pritom je riječ o kritikama koje su se mahom odnosile na (hrvatski) metajezik gramatike, donošenje netočnih pravila te na njezino, po sudu određenih kritičara, nesustavno oblikovanje, a samom se Bojničiću zamjerala nedostatna filološka naobrazba. Upravo ju stoga ti kritičari između ostaloga opisuju kao priručnik neprikladan za nastavnu uporabu. Od navedenih četiriju izdanja gramatike – iako konzultirani hrvatski i mađarski izvori ustvari ne donose nedvosmislen podatak o tome koliko je točno izdanja gramatika doživjela – spomenutoj je filološkoj ocjeni također podlegnulo samo prvo, a autor je poneke ispravke uklopio u kasnija izdanja svoga gramatičkoga priručnika.U ovom se radu uspoređuju četiri izdanja Bojničićeve gramatike, utvrđuju se jezične, nazivoslovne i leksičke mijene njezina polaznoga (hrvatskog) jezika te se propituje u kojoj su mjeri potaknute objavljenim kritikama te koliki je odraz smjene filoloških škola vidljiv u pojedinim izdanjima. U sklopu tumačenja mijena što ih izdanja gramatike sadrže, posebice se ističu jezične osobitosti svojstvene normi zagrebačke filološke škole, čime se pak nastoji potkrijepiti činjenica kako je riječ o obilježjima koja su prisutna u svim četirima izdanjima gramatike neovisno o vremenu njihova izdavanja te jezično-političkim okolnostima i utjecajima pod kojima su nastala.U konačnici se nastoji potvrditi (ne)opravdanost negativne recepcije koju je gramatika imala u dijelu filološke javnosti svojega vremena. Drugim riječima nastoji se dati odgovor na pitanje valja li Bojničiću pridružiti epitet autora čiji rad – pa tako ni njegova gramatika – u odgovarajućoj mjeri nije stručno potkovan ili mu pak, bez obzira na njegovu naobrazbu i upućene kritike, valja odati priznanje zbog neospornih prinosa što ih je dao u području hrvatsko-mađarske gramatikografije.In the shadow of Bojničić’s work marked by exceptional contributions to Croatian cultural history and auxiliary historical sciences remained the Hungarian Grammar (1888, 1896, 1905, 1912), which at the turn of the century, at the time of change of philological schools (Zagreb philological school was supplanted by the school of Croatian Vukovians), saw several modified editions. This grammar book (to be exact, its first edition) was approved as a textbook by the Royal Hungarian Ministry of Worship and Education and awarded by the same institution in 1889. Eventually, the grammar was nevertheless negatively reviewed in Nastavni vjesnik, the official gazette of the same Ministry, which had previously awarded the grammar, and was almost equally evaluated by some Hungarian sources at the beginning of the 20th century.The criticism mostly concerns the grammar’s metalanguage (Croatian), deriving incorrect rules, and its unsystematic format (according to certain critics), and Bojničić himself was criticized for his deficient philological education. This is exactly the reason why those critics, amongst other things, describe it as a handbook inadequate for school use. Of the four above-mentioned editions of the grammar – although the consulted Croatian and Hungarian sources do not explicitly state exactly how many editions the grammar had – only the first edition received the above-mentioned philological evaluation, and the author made some corrections in the later editions of his grammar book.This paper compares the four editions of Bojničić’s grammar, identifies linguistic, terminological, and lexical changes in its source language (Croatian), and examines the extent to which they had been motivated by the published criticism and the extent to which the change of philological schools is reflected in individual editions. Within the interpretation of the changes made in the different editions, linguistic features characteristic of the norm of the Zagreb philological school are highlighted, in an attempt to corroborate the fact that these features are present in all four editions of the grammar irrespective of the time of their publication as well as the linguistic-political circumstances and influences under which they came into existence.Ultimately, the present paper seeks to confirm the (un)justification of the negative reception the grammar had in a part of the philological public of its time. In other words, we seek to answer the question of whether Bojničić is to be given the epithet of an author whose work – including his grammar – is to a certain extent not professionally grounded, or, regardless of his education and the criticism toward his work, he has to be given credit for his indisputable contribution to the field of Croatian–Hungarian grammaticography.
Dissertations / Theses on the topic "1905-1973 Criticism and interpretation"
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Huggan, Graham. "The novelist as geographer : a comparison of the novels of Joseph Conrad and Jules Verne." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26839.
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The works of Joseph Conrad and Jules Verne share a fascination with geography: concern with geographical issues made explicit in their non-fictional works is also implicit in their fiction. Unfortunately, limited knowledge of or interest in geographic theory on the part of the literary critic has made the relation between literature and geography a relatively unpopular focus; to redress the balance, it is necessary to outline briefly some of the ways in which geographical theory may usefully inform the practice of literary criticism. Areas to be introduced include geography and literature as spatial distribution, as spatial perception, as inscription on and description of the environment, as text, as cultural matrix.
The above areas serve as a focus for the comparative analysis of a series of novels by Joseph Conrad and Jules Verne in which three issues are foregrounded: first, the interrelations between concentrated place and surrounding space in the sea-tales The Nigger of the Narcissus and Vingt mille lieues sous les mers; second, the reading and writing of cultural landscape in Heart of Darkness and Voyage au centre de la terre; third, the geopolitics of territory, boundary and landclaim in Lord Jim and L'lle mystérieuse. In each case, relevant geographical theory is drawn upon: in the first instance, the phenomenological notions of Yi-Fu Tuan and Edward Relph; in the second, the landscape evaluations of Carl Sauer and Courtice Rose; in the third, the geopolitical and politico-geographical definitions of Glassner, De Blij and Cohen.
The first section (on The Nigger of the Narcissus and Vingt mille lieues sous les mers) explores the spatial notions of topophilia, placelessness and geometricity inherent in the relation between ship and sea. The second section (on Heart of Darkness and Voyage au centre de la terre) discusses the various connotations of landscape: cultural imprint (rewriting),
false perspective (mis-reading), textual sign-system (encoding/decoding), which suggest that landscape can be interpreted as a controlling mechanism of and means of access to the text. The third section (on Lord Jim and L' Ile mystérieuse) outlines the geographical motifs of the two novels (division, (dis)possession, ascent and descent, etc.) and infers possible motives behind these motifs, relating topographical issues to personal and political ones and paying particular attention to the implications of island environments and communities and to the connections between imperialism, colonialism and narrative strategy.
Finally, the 'literary geography' of Conrad's and Verne's novels is situated in its historical context and related particularly to the late nineteenth-century debate on the relative merits of positivism and phenomenology. In Verne's work, the doctrine of positivism, which has been constituted in terms of an ideology of science, is only celebrated in so far as its limitations are recognized. In Conrad's work, man's struggle to conquer Nature through a physical and verbal mastery of his environment is reinterpreted as an attempt to overcome his own duality. Conrad's predominantly phenomenological geography of the mind serves as a critique of positivist doctrine, but its fractured topography also suggests that the attempt to substitute 'more traditional views of the social and moral order' (Watt, 163) is, perhaps, little more than a saving illusion.Arts, Faculty of
English, Department of
Graduate
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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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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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Sodekawa, Hiromi. "Enchi Fumiko : a study in the self-expression of women." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28285.
Full textAbstract:
This thesis examines four major works of Enchi Furaiko in terras of themes, style, and plot development. In these works, Enchi created three "types" of female characters: the vengeful woman, the lovable woman, and the elderly woman facing death and aging. She attempted to show how it was possible for these women, all repressed by a society, to release themselves from suppression to express their hidden, real selves. In exploring these issues, Enchi drew heavily on her knowledge of the Japanese classics, especially The Tale of Genji and late Edo fiction (including Kabuki), creating a literary world in which the classical and the modern, the past and the present were conflated. Unable to express their true selves within the constraints of a repressive social order, her characters seek self-expression and Eros through the intervention of mediumistic, spiritual, and supernatural forces. In Enchi's works, when the characters released spirits united with their Eros, they realized their essential femininity. An analysis of four of Enchi's major works clarifies these themes and Enchi's literary world.
Chapter One examines The Waiting Years, the work which established Enchi's reputation as a powerful novelist. Though marred by a lack of realism in the supportive characters, The Waiting Years succeeds in portraying a "vengeful woman" who expresses her essential femininity through revenge. A well-controlled, repressive style, influenced by that of The Tale of Genji and late Edo fiction, reinforces the theme of revenge and repression.
In contrast to this vengeful woman, Tale of the Mediums, which is analysed in Chapter Two, deals with the "lovable woman." This type of woman uses her spirit force to express her suppressed love. This chapter attempts to explain how Enchi employs complicated stylistic devices and a plot in which historical facts and fiction, present and past, and illusion and reality are conflated, in order to describe an ideal love. Tale of the Mediums, which can be called Enchi's work of Heian literature, creates a highly sophisticated and even a slightly artificial literary world.
Chapter Three focuses on the novel, Wandering Souls, which is part of the larger trilogy also called Wandering Souls. In this work, the heroine is neither a vengeful nor a loving woman. Although she is involved with men, love, and sex, she is forced to face the realities of aging, death, fear and loneliness. These harsh realities force her to release her hidden self from the forces of social suppression and from the barrier of her public self. Her self-expression takes place through the fusion of reality and illusion, in a world associated with that portrayed in The Tale of Genji.
The Mist in Karuizawa, Enchi's most mature work, is the subject of Chapter Four. All of Enchi's major concerns are brought into focus in this work. Using an imaginary classical work as the center of the novel, Enchi develops two additional narrative lines to create a sophisticated, layered plot. The heroine is an elderly woman facing aging, death, fear and loneliness, and her self-liberation takes place in an illusional world created through reference to the Japanese classics. In this work an ancient high priestess symbolizes the essential quality of femininity, the unity of spirit force and Eros, and through a supernatural relationship with this priestess, the novel's protagonist also realizes her essential femininity and life force.
This thesis, through the four works that are examined, can be considered an attempt to shed light on the question how Enchi's women characters express their hidden, real selves; it also attempts to assess Enchi's place as a modern Japanese writer.Arts, Faculty of
Asian Studies, Department of
Graduate
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Bonnin, Agnès. "L'écriture du progrès ches Jules Verne : ambivalences de la modernité." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26720.
Full textAbstract:
The present thesis studies the representations of the idea of progress within nineteen of Jules Verne's novels, written between 1864 and 1904. It aims at demonstrating that Verne's writing and the topics favored therein constitute an account of the opinions prevailing during the second half of the XIX$ sp{ rm th}$ century. Following an examination of the changes brought by scientific discoveries and their technical applications in French society, as well as of the fears arising from the speedy material progress, it picks out the images that allow the author of the Voyages extraordinaires and the creator of the "scientific novel" to translate and transform the expressions of progress of the period. Finally, the thesis aims to nuance this enthusiastic portrait, and stresses the fact that warnings and ambivalences towards technical progress are not absent from a work that prefers to instruments giving access to progress a moral spirit guiding them.
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Skublics, Heather A. L. E. "Naming and vocation in the novels of J.R.R. Tolkien, Patricia Kennealy and Anne McCaffrey." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68137.
Full textAbstract:
"Naming and Vocation in the Novels of J. R. R. Tolkien, Patricia Kennealy and Anne McCaffrey" discovers in recent works of fantasy and science fiction a pattern of authority which is rooted in the existence of namers and characters who are called to specific tasks. Each of these authors portrays individuals who are called to their own particular and unique roles by other figures whose knowledge of them is deeper than their own. The Biblical account of Samuel's life provides a paradigm for both namer and named that is informative in recognising this pattern in each of the works studied. The virtues essential to living out the call of a namer are faith and obedience; and personal fulfilment as well as heroic feats can only be achieved if those virtues are cultivated.
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Adams, Melinda J. "Re-making the Auden canon : new readings and critical interpretations of W.H. Auden's 1930's poems based on revised texts." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/833006.
Full textAbstract:
Much of W. H. Auden's most brilliantly evocative poetry was written during the 1930's. His skill in catching the tones, the topics of his time, and his ability to evoke its moods and its social turbulence are unequalled among those of his generation writing of political unrest, international crises and revolution. It is no surprise that the word "Audenesque" has become part of the language of literary criticism describing a particular poetic style. Yet it was his poetry of the '30's that Auden later in his life revised and/or repudiated, creating textual problems involving basic critical issues related to literary interpretation, readers'responses to much-revised poems, and to the way that textual scholars approach the determinate relations among poems as first printed and subsequent, altered versions that are also authoritative. Traditional textual criticism cannot address all of the problems caused by Auden's extensive overhauling, nor can it provide evidence that some of Auden's harshest critics--the British Scrutiny group headed by F. R. Leavis and American critics Joseph Warren Beach and Randall Jarrell--may have dismissed him as a major poet too soon. But a method of textual treatment called versioning--the presentation of the complete texts of two or more different stages of a literary work--may be the most useful and efficient method of textual treatment for authors like Auden, and for readers and critics who might wish to assess the significance of Auden's revised works by comparing them with original texts.Department of English
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Poulin, Marguerite. "Le discours mystificateur chez Alphonse Allais /." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74299.
Full textAbstract:
Through the use of the texts published from 1893 to 1903 by Alphonse Allais, we analyse what we call the mystifying discourse, in other words the power of fiction. We show how the author succeeds to deceive the reader. We emphasize the artificial aspects of the language and the style used by Allais to make fun of his readers. This technical study of the writing of Allais allows us to compare with other kinds of works, notably the dreamlike images and the vaudeville.We study therefore the tricks and the traps of the language employed by Allais with the aim of laughing at our expectations. From this point, we will demonstrate that, most of the time, a rupture between the conclusion and the beliefs of the readers exists regarding the fiction which is presented in the tales. Emphasizing the absurd in the texts, we accentuate the various literary techniques. As a result, we illustrate how the humour of Alphonse Allais turns out to be a technical work.
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Daunais, Isabelle. "L'absurde comme élément comique dans les contes d'Alphonse Allais." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63958.
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Yaffe, Phyllis Cohen 1948. "The 'artist and model' theme in Picasso's work between 1926 and 1963 /." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74042.
Full textBooks on the topic "1905-1973 Criticism and interpretation"
1
Xiaoluohuofu, 1905-1984. Shenyang: Liaoning ren min chu ban she, 1985.
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Schübl, Elmar. Jean Gebser (1905-1973): Ein Sucher und Forscher in den Grenz- und Übergangsgebieten des menschlichen Wissens und Philosophierens. Zürich: Chronos, 2003.
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Wandschneider, Andrea. Willi Oltmanns, 1905-1979. Bremen: H.M. Hauschild, 1991.
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Cabestan, Philippe. Sartre: 1905-1980. Paris, France: Ellipses, 2002.
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Todić, Milanka. Radeta Stanković, 1905-1996. Beograd: Narodni muzej Beograd, Fakultet primenjenih umetnosti i dizajna, 1998.
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Paul, Sartre Jean. Remembering Sartre, 1905-1980. Edited by Cakrabartī Sudeshṇā, Guha Chinmoy 1958-, Sartre Jean-Paul 1905-1980, and University of Calcutta. Dept. of English. Kolkata: Das Gupta & Co., 2007.
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Dooren, Elmyra M. H. van. Willy Boers: 1905-1978. Naarden [Netherlands]: V+K Pub., 1995.
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Iqbāl, tashkīlī daur: 1905 se 1913ʼ. Naʼī Dihlī: Arīb Pablīkeshanz, 2012.
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1881-1973, Picasso Pablo, Piot Christine, and Bernadac Marie-Laure, eds. Picasso total, 1881-1973. Barcelona: Ediciones Polígrafa, 2000.
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Dehan, Philippe. Jean Ginsberg, 1905-1983. Paris: Connivences, 1987.
Find full textBook chapters on the topic "1905-1973 Criticism and interpretation"
1
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.
Full textAbstract:
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.