Academic literature on the topic '1912-1955 Criticism and interpretation'

This article discusses four Hamlet adaptations produced in twentieth-century Japan: Naoya Shiga’s ‘Claudius’s Diary’ (1912), Hideo Kobayashi’s ‘Ophelia’s Testament’ (1931), Osamu Dazai’s New Hamlet (1941) and Shohei Ooka’s Hamlet’s Diary (1955). Though differently motivated, and written in different styles, they collectively make something of a tradition, each revealing a unique, unexpected interpretation of the famous tragedy. Read as a group, they thoroughly disprove the stereotypical view that Japan has generally taken a highly respectful, imitative attitude to Western culture and Shakespeare. Hamlet has certainly been revered in Japan as the epitome of Western literary culture, but these adaptations reveal complicated, ambivalent attitudes towards Shakespeare’s play: not only love and respect, but anxiety, competitiveness, resistance and criticism, all expressed alongside an opportunistic urge to appropriate the rich ‘cultural capital’ of the canonical work.

It is well known that the discovery of Mikhail Prishvin as an original writer belongs to Ivanov-Razumnik with whom they were friends during a long period of time. However, the critic’s interpretation or Mikhail Prishvin’s artistic outlook is not covered well enough and objectively in the literary criticism due to serious ideological reasons. Ivanov-Razumnik who was in the most conspicuous place in sociaist-revolutionary party was struck out from the Soviet literary process in spite of his undoubted merits in the Russian culture. The politicisation of the Soviet literary criticism did not promote to adequate research of Mikhail Prishvin’s creative heritage too. It was no accident that the investigators of Mikhail Prishvin’s heritage passed over very significant page in writer’s life and heritage, which is his collaboration in the socialist-revolutionary direction journal «The Covenants» in 1912–1914 where Ivanov-Razumnik was literary editor and leading critic. The world-view positions difference did not promote for the critic to mark essential features of Mikhail Prishvin’s artistic outlook, which is confirmed by researching the materials of Ivanov-Razumnik’s articles and Mikhail Prishvin’s creative heritage and diaries.

AbstractSome of the mainly unchartered territories in literary criticism are the implications of Susan Sontag’s frontal attack on traditional hermeneutical practices in Against Interpretation (1969). This contribution to investigations into the modes of interpretation attempts to draw constructive consequences from this provocation and investigate the notion of a ›poetics of criticism‹ emanating into what can be called the ›aesthetics of interpretation‹. In so doing, it explores the Romantic backdrop of this discourse through examining Friedrich Schlegel’s plea for a ›poetization‹ of critique and his demand to turn critical approaches into aesthetic, if not artistic, acts. Then, these reflections examine notions of perception or Anschauung as a cornerstone of comprehension; discuss poetic renderings of thought with Nietzsche, who epitomizes the fusion of reflection and aesthetic production; single out one of Gottfried Benn’s early poems (»Kreislauf«) as an object for putting aesthetic interpretation into practice given the specific character of this Expressionistic text; and, finally, assess elements of theories of recognition in terms of aesthetic practice with specific reference to a paragraph in early Adorno, which highlights cognitive transformation processes as matters of aesthetic experience.Thus, this essay illustrates the interrelationship between critical theory and practice as an aesthetic act, which takes into account the significance of Sontag’s challenge, exemplifying the necessity of finding a language register that can claim to strive towards adequacy in relation to the (artistic) object of criticism without compromising analytical rigour.The argument developed in this contribution towards an aesthetics of interpretation begins with a critical appreciation of various forms and modes of criticism in literature and other aspects of artistic expression. It centres on the significance of the dialogue as an explorative means of critical discourse, ranging from Friedrich Schlegel to Hugo von Hofmannsthal and indeed Hans Magnus Enzensberger. With the (fictive) dialogue as an instrument of aesthetic judgement, ›experience‹ entered the stage of literary criticism negotiating ambivalences and considering alternative points of view often generated from the texts under consideration.In terms of the ambivalences mentioned above, this investigation into the nature of criticism considers the notion of criticism as a form of art and an extrapolation of aesthetic reason as propagated already by Henry Kames, once even quoted by Hegel in connection with the establishing of a rationale for the critical appreciation of artistic products.It discusses the interplay of distance from, and empathy with, objects of aesthetic criticism asking to what extent the act of interpretation (Wolfgang Iser) can acquire a creative momentum of its own without distorting its true mission, namely to assess the characteristics and aesthetic qualities of specific (poetic) texts or other artistic objects. Following the closer examination of several of Nietzsche’s poems and Roland Barthes’s insistence on the segmentation of the linguistic material that constitutes a textual entity worthy of criticism, the article examines one of Gottfried Benn’s early poems (»Kreislauf«, 1912) in respect of its textual and structural dynamics, awkward sensuality as a form of negative eroticism. On the basis of a detailed linguistic, and indeed poetic, examination it shows where, when, and how literary criticism can meaningfully identify structural features as denominators for aesthetic experience.The final section is devoted to instrumentalize Adorno’s point that concepts can turn with some inevitability into images enabling the theory of cognition to acquire some credibility as a potentially fertile basis for aesthetic practice – both in literary criticism and poetic production. With a concluding reference to Paul Celan’s remark that language acquires a Being of its own and that something of existential significance occurs in the poem, this article illustrates that interpretation depends on a successful interplay of cognitive and sensual processes, which leaves criticism somewhere between aesthetic analysis and contextualization as well as between taking linguistic images metaphorically or indeed literarily. Finally, it suggests regarding aesthetic criticism as a way to assess both the actual creative process and its results as if they were involved in a ›dialogue‹ of their own. Therefore, interpretation can be seen as a process that generates its very own dynamics and procedures (i. e. ›poetics‹), either in relation to its object or in form of a juxtaposition. If the latter, the likelihood is stronger that ›interpretation‹ acquires more distinctiveness. Ultimately, however, the (quasi-performative) quality of interpretation depends on its stylistic features, the adequacy of language used, and conceptual stringency without disregarding its essential function, namely to enable a dialogue between the work of art and its recipient and the recipients amongst themselves.

Cokroaminoto is the eternal leader of Sarekat Islam. He succeeded in making Sarekat Islam into a big organization of Muslims in the Dutch East Indies. However, in his political career in Sarekat Islam, he experienced many internal conflicts with other Sarekat Islam’s member which were his opponent. In the conflict, there were conflict which formed several groups within Sarekat Islam. In this study, the researcher uses a historical research method including data collection, source criticism, data interpretation, and historical writing. This research aims to reveal the conflict of interest between Cokroaminoto and some Sarekat Islam’s figures. The results show Cokroaminoto’s role in Sarekat Islam. Furthermore, the internal conflict between Cokroaminoto and Goenawan-Samanhoedi to get member’s attention and influence is also explained. Cokroaminoto expelled communists within Sarekat Islamfor their political existence in the Dutch East Indies.

This article aims to discuss the Japanese modernisation of the Mutsuhito Emperor Era, which focused on the developments that triggered Japan to become an imperialist country. The Bakufu government, which had been in power for more than 250 years, must finally end. After being deemed unable to handle the country's condition, the Bakufu government returned the Japanese government ultimately to Emperor Mutsuhito. During the occupation of the Empire's seat, Emperor Mutsuhito was assisted by his advisers to make changes in all fields. The main fields were built by them, such as reorganise the political bureaucracy, developing industrial-economic, and developing military technology. Supported by the progressive developments in the country, Japan was transforming into a large industrial nation. To meet its industrial needs, Japan became an imperialist country and defeated China and Russia during the Mutsuhito period of government. The method used in this research is historical and has five steps, among others determining the topic, sources collection, sources criticism, interpretation, and writing. The results showed that the aggressive development and strengthening in political bureaucracy, industrial economics, and military technology in the Meiji era were the roots of the spirit of imperialism of new Japan. Political, economic, and military are the reasons to undertake imperialism besides cultural and religious reasons

<p><em>This paper explain about study on local history on the economic action of santri trader in kretek industry in Kudus 1912-1930. The early trading system of kretek cigarettes was dominated by santri trader until Chinese began producing kretek cigarettes as well, which causes significant profit decline for santri trader. It raised socio-economic tension between the two ethnic due to economic rivalry relations. In the middle of 1912, Chinese merchants started taking over kretek cigarettes market in Kudus. The rivalry matters turns out to be a competition and reach its peak on October 1918 when santri Kudus commence attacking and destroying homes and shops owned by chinese. The falling economic of Chinese, has made Nitisemito and H.M Muslich (Santri trader figure) motivated to maximize their ability in developing kretek cigarette trading system in Kudus. There are several main points that will be explained furthermore in this study. First, the depict of construction between santri traders and chinese merchants in Kudus, second, the effort of Nitisemito and H.M. Muslich in founding kretek cigarettes factory, third, understanding of sosio-economic patterns and economic action of santri trader in Kudus. The methode that be used in this study is historical research contains heuristic, criticism, interpretation, and historiography.</em></p><p><strong>Keywords: </strong>economic action,<strong> </strong>santri trader, kretek industry</p>

This research was motivated by the establishment of the Steenkolen Maatschappij Parapattan (SMP) company which exploited the natural resources and human resources of the workers which caused a resistance. The purpose of this study is to describe the initial conditions of Teluk Bayur before the resistance in 1926 and to describe the forms of resistance in 1926. The type of research used in this research is historical research using heuristic methods, source criticism, interpretation, and historiography. The results show that prior to the riots, SMP was established in 1912, which was the beginning of the riots that occurred in 1926. Dutch involvement extended to the government. In addition to exploiting coal, contracted workers were also exploited by doing hard labor in coal mines with disproportionate salaries until there was an action against a junior high school company in Teluk Bayur on the night of 6-7 November 1926. Sarekat Islam was considered a forum that initiated resistance so that SI was frozen by the Dutch after the incident.

In the history of Indonesia, the workers have played a relatively important role in the course of the nation. At a time when the Indonesian people were fighting for independence, the role of the workers could not be ignored, could not be forgotten. They worked hand in hand with other mass groups to free the Indonesian people from the grip of the colonialists. This article aims to reveal how the existence of workers in the socio-political situation and their involvement in practical politics in Indonesia in 1955. This article was written using the historical method which consists of several stages, namely heuristics, criticism, interpretation, and historiography. In this article, it can be concluded that there are political and economic relations between trade unions and various political elements, especially with political parties. The relationship between the two has different interests where labor unions have economic interests in order to get a living wage, health insurance and oppose arbitrary actions by employers. Meanwhile, political parties make themselves as a forum for channeling labor union voice aspirations and use them as a vote base.

Abstrak: Tulisan ini bertujuan untuk mengelaborasi dan menganalisis bagaimana perkembangan dunia pers di Sumatra’s Westkust? Seberapa besar perempuan Minangkabau mengambil bagian di dalam kemajuan pers Bumiputra di Sumatra’s Westkust? Apa kontribusi kemajuan pers ini bagi peningkatan kualitas kehidupan perempuan Minangkabau masa itu? Berpijak pada empat tahapan metode sejarah yakni heuristik, kritik, interpretasi dan historiografi, hasil penelitian menunjukkan bahwa keterlibatan perempuan Minangkabau dalam dunia pers di Sumatra’s Westkust ditandai dengan kemunculan mereka sebagai penulis, editor dan redaktur surat kabar seperti Roehana Koeddoes, Zoebeidah Ratna Djoewita, Saadah Alim, Rasoena Said, dan Rangkaja Ch. Sjamsoe isteri Datoek Toemenggoeng. Kehadiran perempuan Minangkabau dalam dunia pers ini semakin kokoh melalui penerbitan beberapa surat kabar khusus perempuan seperti Soenting Melajoe (1912), Soeara Perempoean (1917), ASJRAQ (1925), Soeara Kaoem Iboe Soematra (1925), Medan Puteri, Suara Puteri. Kemunculan surat kabar khusus perempuan ini berhasil menjadi pemantik yang sukses mengobarkan semangat kemajuan di antara perempuan Minangkabau saat itu dan menginiasiasi perempuan-perempuan lainnya di Hindia-Belanda untuk semakin sadar akan pentingnya eksistensi perempuan dalam kemajuan kaumnya serta pergerakan kemerdekaan bangsanya. Kata kunci: perempuan Minangkabau, pers, Sumatra’s Westkust.Abstract: This paper aims to elaborate and analyze how the development of the press world in Sumatra’s Westkust? How much the Minangkabau women had taken part in the progress of the Bumiputra’s press in Sumatra’s Westkust? What was the contribution of this press progress to improving the quality of life of the Minangkabau woman at that time? Based on four stages of historical methods namely heuristics, criticism, interpretation and historiography, the results showed that the involvement of Minangkabau women in the press world in Sumatra's Westkust was marked by their emergence as journalism, editor and newspapers editor in chief such as Roehana Koeddoes, Zoebeidah Ratna Djoewita, Saadah Alim, Rasoena Said and Rangkaja Ch. Sjamsoe. The presence of Minangkabau women in the press world was strengthened through the publication of several women’s newspapers such as Soenting Melajoe (1912), Soeara Perempoean (1917), ASJRAQ (1925), Soeara Kaoem Iboe Soematra (1925), Medan Puteri, Suara Puteri. The publication of this women's newspaper became a successful flintstone that fueled the spirit of progress among the Minangkabau women at the time and initiated other women in the Dutch East Indies to become increasingly aware of the importance of women's existence in the advancement of their people and the independence movement of their nation.Keywords: Minangkabau women, press, Sumatra’s Westkust.

This research describes the historical series of the occurrence of the Balkan Wars and the implications thereof for Muslim life there. This study took three main problems, namely (1) the causes of the Balkan Wars, (2) the chronology of the Balkan wars, and (3) What are the implications of the Balkan wars on the socio-political life of Islam in Southeast Europe. The research method used in this thesis is the historical research method. 4 stages, namely (1) Heuristics, (2) Source/Verification Criticism, (3) Interpretation and (4) Historiography. There are two approaches used in this study, namely the political and sociological approaches. While the theory I use in this research is theory. Conflict and social change theory. The results of the research that the authors obtained are: chronologically, the Balkan war was preceded by the problem of Macedonia which in the end was used as an excuse to legitimize the war. Basically, the main cause of this Balkan war was due to the ambition and personal grudge between the respective rulers of the Balkan countries and the Ottoman Empire. It was also driven by the decline of the sultanate, Russian domination, the Turkish-Italian war (1911-1912), the idea of nationalism, propaganda, the formation of the Balkan alliance and the failure of diplomacy. The outbreak of the Balkan war not only resulted in geo-political changes but also was a humanitarian catastrophe for Muslims in the Balkans who at that time had to accept the fact that their situation was no longer the same as when it was led by Muslims because authority had shifted to non-Muslims.

"Still Life" argues that Patrick White's fiction reveals objects in surprising, unexpected attitudes so as to challenge the process by which the mind usually connects with the world around it. In particular, White's novels disrupt readers' tacit assumptions about the lethargic nature of substance; this thesis traces how his fiction reaches beyond familiar linguistic and stylistic forms in order to reinvent humanity's generally passive perception of reality. The first chapter outlines the historical context of ideas about the "object," tracing their development from the Bible through literary movements such as romanticism, symbolism, surrealism and modernism. Further, the chapter considers the nature of language and the relation of object to word in order to distinguish between the usual symbolic use made of objects in literature and White's treatment of things as discrete, palpable entities. The second chapter focuses on White's first three published novels—Happy Valley (1939), The Living and the Dead (1941) and The Aunt's Story (1948)--as steps in his novelistic growth. Chapters Three, Four and Five examine respectively The Tree of Man (1955), The Solid Mandala (1966) and The Eye of the Storm (1973); these novels represent successive stages of White's career and exemplify his different formal and stylistic techniques. White's innovations demand a new manner of reading; therefore, each novel is discussed in terms of objects which reflect the shapes of the works themselves: "tree" defines the structure and style of Tree of Man "house" inspires Solid Mandala and "body" shapes Eye of the Storm. Reading White's novels in terms of structural analogues not only illuminates his methodology, but also clarifies his distinction between objective and subjective ways of understanding the world. Further, these chapters also refute critics' arguments that White's objects are merely victims of his overambitious use of personification and pathetic fallacy, or that they are the result of his dabbling in mysticism. "Still Life" concludes by showing how Patrick White's novels sequentially break down assumptions about reality and appearance until the reality of language itself falters. The author restores mystery to things by relocating the possibility of the extraordinary within the narrow, prescribed confines of the ordinary. White succeeds in changing readers' notions about the nature of reality by disrupting the habitual process by which they apprehend the world of things.
Arts, Faculty of
English, Department of
Graduate

From the artistic experience of Saint-Denys Garneau, who decided to devote himself to painting and writing at the beginning of the 1930's, to the poetry and essays on art of Claude Gauvreau, Roland Giguere, Jacques Brault or Robert Melancon, Quebec's poetry maintains a fertile dialogue with the art of painting. Whatever form it takes, discourse on art allows the poet to reinforce or refine aesthetic sensibilities, to question the links or the disparities between texts and images, but also to conceive a theory about visual perceptions. Despite all that separates these two expressive modes, literature and painting both produce "visibility": even if some pictures are not figurative or some poems do not contain imagery, visual arts, beyond the topics or themes they provide to writers (landscape, portrait, still life, etc.), contribute to the development of "ways of seeing", ways of perceiving sensitive reality and of inserting oneself as a subject in the world. This is particularly true in the works of the three poets around which the main parts of this study are centered: Saint-Denys Garneau, for whom painting is a way of "learning to see" (apprendre a voir), Roland Giguere, whose poetic and artistic works share a desire to "give to see" (donner a voir), and finally Robert Melancon, who borrows from painters ways to "make see" (faire voir). By using notions and concepts that come from disciplines close to Aesthetics, this work proposes to circumscribe those "ways of seeing" and to assess how painting acts as a "seeing school" (ecole du regard) for these three authors. More broadly, since discourse on painting can be found throughout Quebec's modern poetry, this study also constitutes a point of view on the history of poetry in Quebec since Saint-Denys Garneau.
Keywords: Quebec poetry, painting, Aesthetics, visual perception, history of literature.

The texts in this study interrogate the dominant myths which have affected the constructs of identity and history in the white Australian socio-historical context. These myths are exposed by White as ideologically determined and as operating by processes of exclusion, repression and marginalisation. White challenges the autonomy of both European and Australian cultures, reveals the ideological complicity between them and adopts a critical approach to all Western cultural assumptions. As a post-colonial writer, White shares the need of both post-colonising and post-colonised groups for an identity established not in terms of the colonial power but in terms of themselves. As a dissident white male, he is a privileged member of the post- colonising group but one who rejects the dominant discourses as illegitimate and unlegitimating. He offers a re-writing of the myths underpinning colonial and post-colonising discourses which privileges their suppressed and repressed elements. His re-writings affect aboriginal men and women, white women and the 'privileged' white male whose subjection to social control is masked as unproblematic freedom. White's re-writing of myth enbraces the post-modern as well as the post- colonial. He not only deconstructs and demystifies the phallogocentric/ethnocentric order of things; he also attempts to avoid totalization by privileging indeterminacy, fragmentation, hybridization and those liminary states which defy articulation: the ecstatic, the abject, the unspeakable. He himself is denied authority in that his re-writings are presented as mere acts in the always provisional process of making interpretations. White acknowledges the problematics of both presentation and re-presentation - an unresolved tension between the post-colonial desire for self-definition and the post-modern decentring of all meaning and interpretation permeates his discourse. The close readings of the texts attempt, accordingly, to reflect varying oppositional strategies: those which seek to overturn hierarchies and expose power-relations and those which seek an idiom in which contemporary Australia may find its least distorted reflexion. Within this ideological context, the Lacanian thematics of the subject, and their re-writing by Kristeva, are linked with dialectical criticism in an attempt to reflect a strictly provisional process of (re) construction

The focus of this thesis has been to engage in a hermeneutic dialogue with Patrick White's novel The solid mandala, to provide an explication of the dual nature of narcissistic wounding. To this end a brief review of Patrick White's novels is given, which traces a thematic development of the hero's strivings to attain wholeness and merger with an idealized image. This struggle is understood to reflect man's strivings to return to a state of omnipotent fusion with the maternal image, be it God, nature, the idealized other, or the self. Literature which reflects the dual nature of narcissistic wounding is reviewed, and the concept of narcissism is traced from the historical roots of Freud, to current understandings of the function and experience of narcissism. Emphasis is given to understanding the experiential nature of narcissistic wounding. As such it is implied that narcissism is a normal developmental component which requires the facilitation of containment and reflection for its transformation into appropriate adult functioning. The importance of the maternal environment is discussed, together with the various theoretical conceptualizations of the consequences of failure of the environment. The hermeneutic dialogue with the novel's description of the experiences of the twins, Waldo and Arthur provides the basis for an amplification of the experience of narcissistic wounding. This amplification is used as clinical material from which a number of psychoanalytic formulations are drawn. These formulations are supported by a number of clinical examples from the researcher's own practice. There appears to be evidence for the value of focusing on the dual nature of the experience of narcissistic wounding. This focus reveals two aspects of experience, a damaged, positive, libidinal aspect and a defensive, pathological destructive aspect. Amplification of these two aspects of experience contribute to further the understanding of the conflictual experience of narcissistic wounding, and suggest the necessity for such an understanding for effective therapeutic intervention

Creativity, for Wallace Stevens, depends on connections to the natural world which can be examined through garden imagery. Chapters one and two focus on Stevens' private writing, identifying the range of garden environments and natural expanses to which he responded and associating these responses with his aesthetic sensibilities. Continental and Adamic traditions in garden imagery are explored as are contemporary practices in conservation and horticulture. Chapter three concentrates on poems which treat the garden as a locus amoenus of repose and delight where a poet can engage his imaginative faculties with sensual reality. Chapter four analyzes poems whose garden imagery elucidates Stevens' attempts to confront social and political as well as aesthetic issues. Chapters five and six examine Stevens' consideration of the garden as a hortus mentis, emblematic of creative experience, where Stevens assesses the relation of expression to environment and celebrates life lived "in the word of it."

In "Discourse in the Novel," Mikhail Bakhtin tells us that "Every discourse presupposes a special conception of the listener, of his apperceptive background and the degree of his responsiveness." My study of Wallace Stevens's poetry examines Stevens's "conception of the listener"—in the form of his intratextual readers, their responsiveness, and the shapes that responsiveness takes—and attempts to formulate out of that examination Stevens's theory of reading embodied in his canon of poems.

The imagery in Jackson Pollock's three extant sketchbooks which date from c.1934-1939 is dependent on that of other artists, especially El Greco, Rubens and Tintoretto. By 1947 however, the painter achieved a mature synthesis, distinctly his, which influenced contemporary painting, and was seminal for the work of a number of artists of the succeeding era. This dissertation is an attempt to document the phases of Pollock's artistic style from the early 1930s through to the middle 1950s, and to investigate the forces which may have catalyzed his temperament and precipitated his late style. The early sketchbooks begun in c.1934 represent Pollock's engagement with the art of the Old Masters and the teaching techniques of Thomas Hart Benton that utilized works from the Renaissance. The third sketchbook from c.1937-1939 induced him to re-examine the work of the Old Masters in a dialectical approach which incorporated new masters with old, but remained preoccupied with the sacred imagery found in the first two books. It is a resolution of these seemingly opposing modes of representation which produced several influential paintings in the early 1940s, including Guardians of the Secret and Pasiphae. At the same time these works display structural emulations related to those of Old Master paintings that would become increasingly prominent in Pollock's art. The canvases of 1947-1950, produced in what is commonly termed the “Classic Poured Period,” appear to represent a quantum leap beyond the concerns of Old Master works and European precedents. By this point Pollock had developed a fluency and assurance in his use of color and line that seems to extend further than the studied paradigmatic repetitions of his early sketchbooks. However, despite the radically new technique his paintings still exhibit pictorial and formal infrastructures derived from Renaissance paintings which were absorbed into Pollock's new idiom with surprising ease. In 1951 Pollock enters what Francis V.O'Connor termed as ‘his fourth phase'. The Black paintings of 1951-1953 betray a further exploration and adaptation of Old Master ideas, both iconographic and aesthetic and were created in Triptychs and Diptychs, typical altarpiece formats. With these paintings Pollock's forms acquired a confident plasticity and invention derived from the sculptural practices of Michelangelo, and progressively fewer individual images are quoted verbatim. An understanding of Pollock's early preoccupation with old Master painting is essential to comprehend the formation of the aesthetics of much of his later art. Significantly the underlying infrastructure remains fixed to old Master precedents and it was precisely these models of Renaissance and Baroque art which became the medium through which his mature synthesis was achieved.