Academic literature on the topic '1912-1981 Criticism and interpretation'

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.

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.

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

The present research explores the choice of adjectives as a lexical category in Mohsin Hamid’s novel, How to Get Filthy Rich in Rising Asia by using Leech and Short model (1981). An empirical enquiry is carried out to trace the author’s choice of adjectives and their intended functions by subjecting How to Get Filthy Rich in Rising Asia to stylistic analysis and linguistic scrutiny. The various functions of adjectives are interpreted after the text is subjected to close reading for their contextual occurrence where they are carefully engraved by the author. The resultant functions throw ample light on the life, culture, economic scenario and love and gender relations construed in the text through adjectives. The present paper, however, is limited only to the interpretation of the adjective categories based on the model suggested by Leech & Short (1981). This study is, therefore, instrumental in initiating a voyage to interpret literary language via linguistic tools and evidences contributing amply to the field of stylistics as well as literary criticism.

<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.

The dynamic progression from orality to literacy is embodied in the notation of the prologues to the first court operas. This transition is influenced by the proliferation of printed scores at the beginning of the 17th century and has profound rhetorical consequences for vocal performance. In the first prologues, where the written arie are formulaic, the singer is the creator and authority; s/he controls the musical performance and makes the connection between words and music by means of variation, ornamentation, and improvisation as part of a persuasive dialogue with listeners. In the later prologues, however, the composer rather than the singer is in control of the discourse. Because of a new and more elaborate way of writing out the prologues, where all stanzas are set to music, the singer is now turned into an interpreter of the composer's rhetorical realization of the words, a realization fixed in the score by musical notation and capable of being brought to life in performance. The prologue can profitably be discussed as a genre in the context of the oral tradition of the late Renaissance, and is illuminated by a number of 16th- and 17th-century Italian sources dealing with lyric poetry, linguistic theory, vocal performance, sound, and listening. In this regard, the edition of Jacopo Peri's Euridice by Howard Mayer Brown (1981) is open to criticism, because all stanzas of the prologue are written out, which is not in accordance with Peri's original score (Florence, 1600). The editorial realization of the strophes, therefore, seems to run contrary to the principles of orality according to which the prologue was originally composed.

In music historiography there appears the notion of a Europe musically divided between a central "universal" culture and a peripheral "national" orientation. 19th century composers of the Scandinavian and East European countries share the same fate of being marginalized as provincial representatives of "national" or "regional" cultures, in contrast to those that »spoke the language of "humanity" (Alfred Einstein). In Germany Edvard Grieg is stili derogatively regarded as Kleinkünstler, who was not able to produce large scale works in sonata form, which alone would qualify for the stature of a "universal" artist. What we now recognize as Norwegian or national in Grieg's works became carriers of such significance and interpretations only after the composer's death. The hermeneutic descriptive analysis and criticism in Germany (Hermann Kretzshmar) and Norway (Gerhard Schjelderup) narrowed the interpretation of his works.This was further ideologically encased by the upsurge of Norwegian nationalistic music culture in the late 20ties. When Grieg's only symphony was released for performance in 1981 it was stylistically considered as a transition to the "real" Grieg with reference to the elements pointing to a national idiom.The author pleads far a more open attitude in approaching the complex nature of Grieg's compositional career. Unbiased analyses of his large scale works, including the symphony, testify to an acute sense of formal structure, even when deviating from the normative requirements of the genre. The artistic legacy of Edvard Grieg, like that of many other composers of "peripheral" cultures, need to be examined at the triadic point of dynamic convergence between the national, regional and European, and between stylistic trends, sociocultural background and the development of musical communication.

"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

This dissertation seeks to explore the nature of the self/other, subject/object dialectic that can be found in Jacques Lacan's theory of the Minor Stage and his notion of Imaginary mastery, and how this relationship can be re-read in terms of a beholder/image relationship. What I seek to demonstrate in exploring the relationship between the beholder and the image is the staging of two opposing emotions, aggression and desire and the consequential tussle for mastery that arises from the self/other, and hence the beholder/image, dichotomy. I seek to explore the reasons why such a beholder/image relationship becomes ambivalent, due to veiled, obscured and fragmented images.
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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

The drole de roman gathers works by Marcel Ayme, Albert Cohen and Raymond Queneau, French novelists who belong to the same generation, share common readers and inspiration and, most of all, a specific vision: the nonserious. Their novels draw from the most obvious manifestations of the comical tradition (farce, burlesque) to its most subtle (irony, parody). In their works, laughter does not occupy a secondary position nor does it simply provide some reading impressions. In fact, laughter is often expressed by the characters and narrators themselves, whose sense of mischeviousness demonstrates the Rabelaisian joy of body and soul.
Besides, the drole is not restricted to its usual comical characteristics. In the prospect of literary history, it also refers to what stands apart from the realistic conventions inherited from Balzac and Zola. In other words, the drole is made of antirealism, merveilleux and fantasy. Thus, Ayme, Cohen and Queneau put forward their own response to the mimetic function of the 19th century realistic novel. Instead of renouncing the power of fiction, as Gide and Valery will often suggest, instead of denouncing its falseness, the three novelists give fiction even greater powers.
Based on the conclusions of the history of the novel and on studies concerning various aspects of its construction (the relation between reality and fiction, the conception of character and of its place in the community, the forms of the plot), this thesis wishes to shed light on the role and value of laughter through the study of three major themes: comedy, community and enchantment.

This thesis examines how Gwyn Thomas and Ron Berry interact with and respond to landscape and environment in their fictional and non-fictional writing. Exploring how the writers negotiate the convergence of the industrial and the rural/natural in the uplands of the south Wales coalfield, in particular the Rhondda Fawr Valley, the study considers the literary geographies their work creates. Examining the themes of the cultural and political use of landscape and rural imagery, the manifestation of authority in landscapes, the impact of industrialisation and de-industrialisation, the uncanny underground environment and its dynamic interactions with the ground above, and post-industrial environmental issues, the study re-positions two industrial writers of Wales to reveal the significance of landscape, place and environment in their writing.

Karl May is considered Germany's most published author of popular literature. His influence on generations of German youth cannot be overlooked. Winnetou is one of his major works and depicts the adventures of Old Shatterhand, the German immigrant, and his Blood Brother, the Apache Winnetou. Generations of children grew up reading their adventures and escaping in their imaginations to battle unsavoury Yankees as well as hostile tribes.
May's descriptions of the First Nations of North America have aided in skewing the perception of the North American First Nations in Germany. This thesis aims to work with some of these misperceptions and explain how they came to be. Through the use of Edward Said's theory, Orientalism, which will be applied to Winnetou I-III, this thesis attempts to interpret the role of the European and the non-European, or the Other, within the context of the story. The power structure between the European and the non-European will be one of the main focuses. May's use of the Bible as the perceived 'right' way of dealing with situations and people in comparison to the Apache or Yankee way is an obvious exertion of European thought and control over the non-European way of life.
Winnetou is situated in a unique role in the power struggle between the European and the non-European. He is often seen as having mentalities and beliefs that come across as more European than non-European, and therefore places him in a unique situation, that of a Noble Savage, not a 'red devil'. It is exactly this perception of North American First Nations, that has survived many generations and still lends credit to Winnetou being called an 'apple Indian', red on the outside, white on the inside.