Academic literature on the topic '1919-1971 Criticism and interpretation'
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Journal articles on the topic "1919-1971 Criticism and interpretation"
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Pechenkin, Alexander. "The Ensemble Interpretation of Quantum Mechanics and Scientific Realism." Acta Baltica Historiae et Philosophiae Scientiarum 9, no. 1 (May 27, 2021): 5–17. http://dx.doi.org/10.11590/abhps.2021.1.01.
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The article takes under consideration three versions of the ensemble (statistical) interpretation of quantum mechanics and discusses the interconnection of these interpretations with the philosophy of science. To emphasize the specifics of the problem of interpretation of quantum mechanics in the USSR, the Marxist ideology is taken into account. The present paper continues the author’s previous analysis of ensemble interpretations which emerged in the USA and USSR in the first half of the 20th century. The author emphasizes that the ensemble approach turned out to be a dead end for the development of the interpretation of quantum mechanics in Russia. The article also argues that in Soviet Russia, the classical Copenhagen (standard) approach to quantum mechanics was used. The Copenhagen approach was developed by Lev Landau in 1919–1931 and became the basis of the Landau-Lifshitz famous course on quantum mechanics, one of the classics of twentieth-century physics literature (the first edition was published in 1947). Although Vladimir A. Fock’s approach to the interpretation of quantum mechanics differs from the standard presentation by Lev Landau and Evgeny Lifshitz, Fock put forward a very important principle that complementarity is a “firmly established law of nature”. The fundamental writings of Lev Landau, Vladimir Fock and Igor Tamm, the authors of the mid-twentieth century, did a lot to defend the standard point of view such as the popular interpretations by Landau and Lifshitz. This approach can be traced back to Landau’s early writings and to Fock’s criticism of the ensemble approach.
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Ar Razy, Mohammad Refi Omar. "The Sekar Rukun Association: Struggle of the Sundanese Youth National Movement Era (1919-1931)." Historia: Jurnal Pendidik dan Peneliti Sejarah 4, no. 2 (June 7, 2021): 159–72. http://dx.doi.org/10.17509/historia.v4i2.32045.
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This study aims to analyze the kirprah of the Sekar Rukun Association during the National Movement (1919-1931) which includes the formation, form of struggle, and the process of merging with the Young Indonesia organization. The research method used is the historical method which consists of heuristic, source criticism, interpretation, and historiography stages. Through this research, it can be seen that, first, the Sekar Rukun Association was formed by Sundanese figures who attended school in Batavia, such as Doni Ismail, Iki Adiwidjaja, Djuwariah, Hilman, Moh. Sapii, Mangkudiguna, Soetisna Sendjaja and Iwa Kusumasumantri before finally Dr. Husein Djajadiningrat was involved in the Sekar Rukun Association. Second, the form of struggle for the Sekar Rukun Association is by working with youth organizations similar to that during the National Movement such as Jong Java, Jong Ambon, Jong Sumatranen Bond, Jong Islamieten Bond, Jong Celebes, Jong Bataks and so on. One form of the struggle of the Sekar Rukun Association together with other youth organizations was to hold Youth Congresses I and II in 1926 and 1928. The 2nd Youth Congress in 1928 was known as the Youth Pledge event. Third, as a form of unity and integrity, the Sekar Rukun Association merged with the other youth organizations mentioned above to form an organization called Young Indonesia in 1931.
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Rodiah, Ita. "New Historicism: Kajian Sejarah dalam Karya Imajinatif Ukhruj Minha Ya Mal’un Saddam Hussein." Jurnal Kajian Islam Interdisipliner 4, no. 2 (November 28, 2020): 125. http://dx.doi.org/10.14421/jkii.v4i2.1102.
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Penelitian ini membuktikan bahwa kajian kesusastraan dengan menggunakan new historicism mampu mengungkap pelbagai kekuatan budaya, sosial, ekonomi, dan politik yang menyetubuh dan menyelinap dalam setiap sela teks sastra yang merupakan ranah estetik (aesthetic richness). Penelitian ini mengungkapkan bahwa karya sastra tidak dapat dipisahkan dengan pelbagai konteks zaman dan praksis budaya, sosial, ekonomi, serta politik yang melingkupinya. Penelitian ini tidak sependapat dengan konsep new criticism John Crowe Ransom (The New Criticism, 1941 dan Criticism as Pure Speculation, 1971) dan William K. Wimsatt dan Monroe Beardsley (The Intentional Fallacy, 1946 dan The verbal Icon, 1954) yang mengatakan bahwa karya sastra merupakan autotelic artefact. Sehingga menjadi tidak tepat ketika pemahaman terhadap sastra dikaitkan dengan pengarang, pembaca, maupun konteks di luar karya sastra. Penelitian ini mendukung konsep new historicism Stephen Greenblatt (Practicing New Historicism, 2000) yang menyatakan bahwa dunia imajinatif-estetis tidak pernah terlepas dari relasi kekuasaan dunia realitas yang termanifestasi dalam karya sastra sebagai apresiasi estetis individu dan praksis budaya, sosial, ekonomi, dan politik. Berdasarkan interpretasi kritis new historicism Greenblatt terhadap novel Ukhruj Minha Ya Mal’un diperoleh hasil penelitian berupa pemahaman karya imajinatif yang penuh dengan simbol yang lebih lengkap dan dalam (deeper understanding of value) dengan melibatkan konteks ekstrinsikalitas karya sastra di dalamnya dan novel Ukhruj Minha Ya Mal’un hadir sebagai tanggapan reflektif-imajinatif Saddam Hussein sebagai pengarangnya.[This research proves that literary studies using new historicism can reveal the various cultural, social, economic, and political forces that intercourse and sneak in every literary text: aesthetic richness. This research reveals that literary works cannot be separated from the various contexts of the era and the cultural, social, economic, and political praxis that surround them. This study disagrees with the concept of new criticism John Crowe Ransom (The New Criticism, 1941 and Criticism as Pure Speculation, 1971) and William K. Wimsatt and Monroe Beardsley (The Intentional Fallacy, 1946 and The verbal Icon, 1954) literature is an autotelic artifact. So it is not appropriate when the understanding of literature is associated with authors, readers, and contexts outside of literary works. This research supports Stephen Greenblatt's new historicism concept (Practicing New Historicism, 2000), which states that the imaginative-aesthetic world is never separated from the power relations of the world of reality which are manifested in literature as an individual aesthetic appreciation and cultural, social, economic, and political praxis. Based on the critical interpretation of Greenblatt's new historicism of the Ukhruj Minha Ya Mal'un novel, the research results are in the form of a deeper understanding of imaginative works of symbols (deeper understanding of value) involving the context of the extrinsicality of literary works in it and the novel Ukhruj Minha Ya Mal. 'un appears as the reflective-imaginative response of Saddam Hussein as the author.]
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Hidayati, Nur, Anny Wahyuni, and Budi Purnomo. "JENDRAL HOEGENG IMAM SANTOSO: KAPOLRI JUJUR, DISIPLIN DAN SEDERHANA SEBAGAI TELADAN GENERASI MUDA." SWADESI: Jurnal Pendidikan dan Ilmu Sejarah 2, no. 1 (April 29, 2021): 25. http://dx.doi.org/10.26418/swadesi.v2i1.45819.
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General Hoegeng Iman Santoso was the Chief of the Indonesian National Police (Kapolri) in 1968 - 1971. He is a son of the nation who was born in Pekalongan on October 14, 1921. This research uses the historical research method according to Daliman which consists of four steps, namely: 1) Heurustik ( data collection), 2) Source Criticism (testing), 3) Interpretation (Analysis), 4) Historiography (Writing History). The results of this study are 1) Biography of Hoegeng Iman Santoso 2) Career Tracks of Hoegeng Iman Santoso 3) Hoegeng's characters that can be imitated by the younger generation: a) honesty, namely behavior in an effort that makes him dependable in words, actions and activities, honesty Hoegeng should be used as a role model for the younger generation b) time discipline determines human fluency in achieving something he wants c) simplicity is an act that is in sync with actual conditions.
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Israr, Israr, Susanto Zuhdi, and Abdurakhman Abdurakhman. "The 1977 Election and Consolidation of the New Order Government in West Sumatra." Paramita: Historical Studies Journal 32, no. 2 (September 29, 2022): 212–20. http://dx.doi.org/10.15294/paramita.v32i2.29705.
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This study aims to reveal the process and results of the 1977 Election in West Sumatra. Unlike at the national level taking place under intense competition, the second election during the New Order regime in West Sumatra seemed relatively “quiet.” Golkar comes out as the superior champion. The vote acquisition surpassed the Golkar votes nationally and passed the “Beringin” achievement in the 1971 Election. This study uses a structural history approach. The results show its specific dynamics in West Sumatra, which differed from the national elections. This study uses the historical method of heuristics, criticism, interpretation, and historiography. In the heuristic stage, data were obtained through library research, documentation and archives, field observations, and interviews with selected resource persons based on source criticism. The study results reveal that the 1977 Election in West Sumatra not only resulted in an increase in Golkar’s votes and the defeat of the “opposition party,” especially the PPP, but also signaled the continued consolidation of the New Order regime in Minangkabau. Penelitian ini bertujuan untuk mengungkap proses dan hasil Pemilu 1977 di Sumatera Barat. Berbeda dengan di tingkat nasional yang berlangsung dalam persaingan yang ketat, pemilu kedua pada masa Orde Baru di Sumatera Barat tampak relatif “tenang”. Golkar keluar sebagai juara unggul. Perolehan suara tersebut melampaui perolehan suara Golkar secara nasional dan melewati prestasi “Beringin” pada Pemilu 1971. Penelitian ini menggunakan pendekatan sejarah struktural. Hasil penelitian menunjukkan dinamika spesifik di Sumatera Barat yang berbeda dengan pemilu nasional. Penelitian ini menggunakan metode historis heuristik, kritik, interpretasi, dan historiografi. Pada tahap heuristik, data diperoleh melalui studi pustaka, dokumentasi dan arsip, observasi lapangan, dan wawancara dengan nara sumber terpilih berdasarkan kritik sumber. Hasil kajian mengungkapkan bahwa Pemilu 1977 di Sumatera Barat tidak hanya menghasilkan peningkatan perolehan suara Golkar dan kekalahan “partai oposisi” khususnya PPP, tetapi juga menandakan berlanjutnya konsolidasi rezim Orde Baru di Minangkabau. Cite this article: Israr, Zuhdi, S., Abdurakhman. (2022). The 1977 Election and Consolidation of the New Order Government in West Sumatra. Paramita: Historical Studies Journal, 32(2), 212-220. http://dx.doi.org/10.15294/paramita.v32i2.29705
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Bisla, Sundeep. "OVER-DOING THINGS WITH WORDS IN 1862: PRETENSE AND PLAIN TRUTH IN WILKIE COLLINS'S NO NAME." Victorian Literature and Culture 38, no. 1 (February 23, 2010): 1–19. http://dx.doi.org/10.1017/s1060150309990283.
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In Walter C. Phillips's Classic Study of 1919, Dickens, Reade, and Collins, Sensation Novelists: A Study in the Conditions and Theories of Novel Writing in Victorian England, there comes an instant when the critic believes himself to have caught the last of his novelists in a moment of artlessness. Remarking on the comforting and seemingly-conformist opening of Wilkie Collins's No Name, Phillips comments that “in the early sixties . . . the popular drift toward realism – stories of domestic life – had compelled some modification of Collins's . . . original melodramatic scheme” (133). Collins's predilection for artfulness is well-established. Rejecting his suggestions for an earlier foreshadowing of the Dr. Manette subplot in A Tale of Two Cities, Dickens comments in October 1859, “I do not positively say that the point you put, might not have been done in your manner; but I have a very strong conviction that it would have been overdone in that manner.” He goes on to characterize Collins's suggested revision as potentially off-putting for the readership because it would inevitably be discovered and the situation consequently judged “too elaborately trapped, baited, and prepared” (Letters 9: 127). This essay is in a sense an exploration of the special utility inherent in Collins's elaborately prepared traps for the reader. The elaborate plan can sometimes go places, make certain philosophical critiques, that the accommodative plot cannot. Collins was not known to be a writer who changed course easily in the face of criticism. Thus, it is surprising to find Phillips, as well as other literary critics, taking his opening in No Name seriously and as a sort of conservative retreat on Collins's part. But traps being what they are, that is, made to be fallen into, Phillips's misunderstanding is understandable. The opening of No Name does most assuredly invite such an interpretation. I will be arguing here, however, that, far from attempting to accommodate a newly emergent popular Victorian domestic taste, and pulling back from a previous subversive stance, Collins especially in his opening but also throughout his non-canonical masterpiece is actually covertly attacking that taste at its very foundations.
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Baliutytė, Elena. "“Don’t go picking apples with the devil”: the myth of Faust in the works of Eduardas Mieželaitis." Literatūra 61, no. 1 (December 20, 2019): 78–89. http://dx.doi.org/10.15388/litera.2019.1.4.
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This article analyzes the reflection on the myth of Faust in the work of Eduardas Mieželaitis (1919–1997). The author’s initial hypothesis that the interpretation of this myth can be used as another argument for revealing the poet’s dramatic feelings and self-reflection of inauthentic Soviet existence is tested. Together with other signs of existential self-abuse (such as the metaphors of “the ringed bird” and “the masked word”), this could help answer the question of whether the description of the 1920s generation (Alfonsas Nyka-Niliūnas, Bronius Krivickas, etc.) as “tragic” would fit Mieželaitis. Intertextuality is the best way to describe the nature of the analysis and socio-criticism would describe the interpretation of the results.E. Mieželaitis was (and still is) one of the most intertextual Lithuanian authors. The use of the “alien word” in his texts was a conceptual position of the poet’s creative consciousness. For him the world’s culture has become a central topic, and his texts have been occupied by the masters of arts and sciences of antiquity, Renaissance, or New Age, as well as modern European authors, Oriental classics, Bible quotations, paraphrases, allusions and other forms of culture. For the poet, Goethe’s Faust is one of such foundational texts, even if the Soviet era did not favor the “myths of the great contemplation” (Vytautas Kubilius). The forever relevant myth of Faust raises a fundamental question of person’s life choice – what one is prepared to sacrifice for one’s purpose, and what the results of that “sacrifice” are. But in the Soviet times Mieželaitis did not focus on this myth as a “symbol of the duality of human’s nature” – his human is rather one-dimensional and monolithic, full of positive energy directed towards technological progress and an absolute belief in the cognitive powers of man. This is the exact aspect that Faust embodies in Mieželaitis’ works, as if it was his “new man”, the product of the Enlightenment era. Mieželaitis did not care about the moment of negotiations between Faust and Mephistopheles – for him there could easily be no Mephistopheles. However, in late works (Postskriptumai, 1986; Gnomos, 1987; Laida, 1992), where the poet reflects on his life and creative path, there are many signs of disillusionment with the myth of human omnipotence as the results of his labor have turned against him – he wanted to create a heaven, but got a hell in the form of Hiroshima. It is at this point that Mephistopheles dominates the duet with Faust, but in general they have both become a “common place” and their function is limited by the text’s aesthetic figurativeness.My conclusion is that eventually the rich allusions to Faust in Mieželaitis’ works did not translate into reflections on the essence or meaning of being – he was not concerned with the problematics of human’s choices, duality, or contradictions. Thus, my initial expectation that the interpretation of the Faust myth may be another argument for revealing the poet’s dramatic feelings and self-reflection of inauthentic existence in the Soviet times was essentially not confirmed. And that could have been another argument for adding him to the social group of the 1920s.On the other hand, looking from the distant present, it is my opinion that Mieželaitis is still a part of the tragic generation, as the whole generation – whether they retreated to the West, or remained in Soviet Lithuania, collaborated or resisted – became hostages of the Second World War and the Soviet occupation.
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Bartnæs, Morten. "Freud's ‘The “Uncanny”’ and Deconstructive Criticism: Intellectual Uncertainty and Delicacy of Perception." Psychoanalysis and History 12, no. 1 (January 2010): 29–54. http://dx.doi.org/10.3366/e1460823509000531.
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Freud's ‘The “Uncanny”’ (1919) has been the object of a singular growth of interest, though mainly outside the realm of psychoanalysis. The article owes its present prominence in the humanities to its reception and appropriation by readers associated with deconstruction, starting with Jacques Derrida, and continuing with the influential interpretations of Hélène Cixous (1972), Samuel Weber (1973) and Neil Hertz (1985). The present article discusses some characteristics of the deconstructive reception of ‘The “Uncanny”’, and points out the limitations it puts on the understanding of Freud's text.
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Zhixin, SU. "John Dewey and Chinese Education: Comparative Perspectives and Contemporary Interpretations." Beijing International Review of Education 1, no. 4 (December 6, 2019): 714–45. http://dx.doi.org/10.1163/25902539-00104009.
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It has been widely claimed that no Western scholar has exerted greater influence on Chinese education than the American education philosopher John Dewey, who visited and lectured in China for more than two years between 1919 and 1921. A comparison of Chinese and American scholars’ evaluations of Dewey’s impact on Chinese education reveals many contradictions and controversies, especially in China during different historical periods. This paper examines the major differences between Chinese and American critics’ views on Dewey’s influence on Chinese education, with a focus on the dramatic changes in Chinese scholars’ perspectives in three distinct stages: from early praise and positive acceptance during the first 30 years after Dewey’s visit to China (1919–1949), to severe criticism and rejection over the next 30 years (1949–1979), and then to new interpretations since China’s opening up to the outside world in 1979. Although Dewey and his education theories were first extolled and then abandoned in China, they have received open and warm reappraisals from Chinese educators in recent decades and have emerged from rejection to renewed appreciation in Chinese education. To fully understand the significance and implications of Dewey’s visit to and lectures in China, both Chinese and American Dewey scholars need to create and sustain continued dialogue on this most fascinating episode in the intellectual histories of China and the US.
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Machovenko, Jevgenij, and Dovile Valanciene. "CONSTITUTIONAL FOUNDATIONS FOR THE COORDINATION OF RECEIPTED AND NATIONAL LITHUANIAN LAW IN 1918–1920." Constitutional and legal academic studies, no. 2 (July 16, 2021): 69–77. http://dx.doi.org/10.24144/2663-5399.2020.2.08.
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The research object of this study is the provisions of the Provisional Constitutions of 1918, 1919 and 1920 concerning the establishment of the Lithuanian legal system. The aim of the study was to determine what was the basis for the reception of foreign law and the particularism of the law, what law was recepted and what was the relationship between it and the newly created national law. The main methods used are systematic, teleological, historical, linguistic, and comparative. This article presents an original vision of recepted law and a critical assessment of the interwar Lithuanian governmental decision to completely eliminate recepted law. In the authors' opinion, law reception and particularism enshrined in the Provisional Constitutions met the expectations of the citizens, and the government’s ambition to completely eliminate recepted law in all areas of people’s activities in the intensive development of the national law was in line with the strategic interests of the state and society. Particularism was a natural expression of pluralism inherent in the Western legal tradition and had a great potential for the development of Lithuanian law, which was not exploited due to the negative appreciation of particularism and the attempt to eliminate it completely.
Acts issued by the Russian authorities in 1914-1915 and by the German authorities in 1915-1918 restricted the rights of Lithuanian residents, severely restricted monetary and property relations, made it difficult to rebuild the country’s economy, providing for repressive or restrictive measures against the citizens of hostile states. The restored state of Lithuania endeavoured to establish peaceful relations with all states, including those with whom Russia and Germany were at war. Cancelling the law imposed by the Russian and German authorities during the war was a reasonable and useful decision of the Lithuanian State authorities.
The interpretation of the constitutional provision «[laws] which existed before the war» as «which existed before August 1, 1914», common in the historical legal literature of Lithuania, is incorrect. The question what laws were recepted has to be addressed not by the date of the adoption o a certain act, but by its content – insofar it is linked or unrelated to the First World War. All acts by which the Russian Empire intervened or were preparing to intervene in this war shall be considered to be excluded from the legal system of the restored State of Lithuania in the sense of the constitutional norm «[laws] which existed before the war» and the general spirit of this Constitution.
The system of constitutional control entrenched in the Provisional Constitutions, where a court or an executive authority verified the compliance of a recepted law with the Constitution before applying it is subject to criticism from the standpoint of contemporary legal science, but under the conditions of Lithuania of 1918-1920, it was flexible, fast, allowing citizens to raise the issue of the constitutionality of the law and present their arguments.
Dissertations / Theses on the topic "1919-1971 Criticism and interpretation"
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Hong, Kimberly Yuen 1984. "Tear Down the Veils: Francis Bacon's Papal Variations 1946-1971." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/9871.
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xiv, 141 p. : ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.Twentieth-century British figurative painter Francis Bacon (1909-1992) is perhaps best known for his near-obsessive series of papal paintings inspired by Diego Velazquez' renowned portrait Pope Innocent X (1650) and created over the course of Bacon's entire artistic career. The artist's working process plays a crucial role in understanding this celebrated and varied series. Bacon deliberately avoided Velazquez' "original" portrait, preferring instead to work with photographic reproductions of the piece alongside a large collection of seemingly disparate visual material in his chaotic studio at 7 Reece Mews (South Kensington, London, England). This thesis proposes that Bacon explored issues of mechanization, fragmentation, and repetition through these visual juxtapositions in order to offer a critique of artistic and religious institutions.
Committee in Charge: Dr. Kate Mondloch, Chair; Dr. Lauren G. Kilroy; Dr. Ellen Rees
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Walsh, Brian J. 1953. "Theology and modernity : a study in the thought of Langdon Gilkey." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72080.
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Langdon Gilkey's theological method distinguishes three stages of the theological enterprise, namely, prolegomenon, constructive theology and theology of culture. In this dissertation we employ this threefold division as an organizing principle for the exposition and evaluation of Gilkey's thought. We propose further, however, that the whole project is best understood if seen primarily in terms of the third stage. Consequently the dissertation focuses on Gilkey's theology of culture and interprets his prolegomenon and constructive theology in terms of their foundational relevance to his theology of modernity in decline. Interpreted in this way the project as a whole displays a coherent interrelatedness. That coherence also means, however, that ambiguity and weak arguments in both the prolegomenon and constructive theology are reflected in the theology of culture. These deficiencies notwithstanding, Gilkey's theology of culture provides us with an analysis and diagnosis of modernity that plumbs to the religious depths of that culture. Such analysis is necessary for all cultures but especially for cultures in decline.
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Laviolette, Carole. "The tyranny of coherence /." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26741.
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This thesis introduces a skeletal representation of the "kind" of individual Doris Lessing promotes in her work. Organized around five semantic qualifiers, this analysis explores a number of Lessing's works belonging to several literary categories for evidence of the appearance of the daring, self-aware, public, engaged, and vocal individual. It argues that Lessing, as a humanist, is committed to individual personal actualization but that this is tempered with her personnally held views about what is valuable and enriching human experience. It concludes that as author of fictional tales, autobiographical texts as well as political essays, she designs the path of self-development she considers worthy of mention.
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Fotheringham, John McGowan. "Ernst Toller : from Einheitsfront to Volksfront : the development of Toller's political ideology (1919-1939)." Thesis, University of Stirling, 1999. http://hdl.handle.net/1893/3550.
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This thesis examines the development of the political outlook of the German author and revolutionary politician, Ernst Toller. It begins by looking at Toller's early years and explains how his experience as a front-line soldier during the First World war transformed his views, causing him to reject the conservative-nationalist ethos he had grown up with and to become, in his own description, a revolutionary pacifist. It then looks at his involvement in the revolutionary events which took place in Bavaria at the end of the First World War, the so-called Räterepublik, examines how they affected his understanding of social and political reality and traces their artistic reflection in the plays he wrote in the following period. A recurrent theme in Toller's political thinking throughout the years of the Weimar Republic was the idea of an Einheitsfront, a defence block of workers' organisations, which he advocated as the only means of halting the rise of National Socialism. Unfortunately, Toller's appeals to the main workers' parties to form such a block went unheard, yet they are significant all the same in that they reveal the acute political insight of a man whom many of his contemporaries dismissed as a hopeless utopian. Interestingly, and a point often missed in studies of his politics, Toller abandoned the Einheitsfront after he went into exile in 1933 and came to favour instead the creation of a Volksfront a broad, cross-party anti-fascist coalition which the Soviet Union vigorously promoted all through the 1930s until the signing of the Stalin-Hitler Pact in 1940. Toller's support for this idea, in part a corollary of his support for the Soviet Union itself, had a profound impact on his political outlook in exile, and caused him to close his eyes to the repression suffered by the opponents of the Stalin regime both inside and outside Russia, and, most significantly, led him to ignore the nascent socialist revolution which flourished in Spain after the defeat of Franco's coup d'etat in 1936. This study examines in some detail, therefore, Toller's involvement in the Volksfront, redefines his attitude towards Communist Russia and shows how his efforts to suppress his revolutionary beliefs and to become instead a mere anti-fascist affected his creative spirit during his years of exile.
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CARTER, STEVEN MICHAEL. "EPISTEMOLOGICAL MODELS SHARED BY AMERICAN PROJECTIVIST POETRY AND QUANTUM PHYSICS." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/187927.
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The American Projectivist verse of Jack Spicer, Charles Olson, and Robert Duncan contains within its poetics many epistemological assumptions shared by quantum physics. These assumptions exist in three broad categories: perception, process, and wholeness. In physics, the epistemology of perception has been profoundly altered by the Heisenberg Uncertainty Relation, which creates a symbiotic relationship between the observer and the observed. At least one photon of light is necessary to observe an electron; one photon is sufficient to alter the electron's momentum or position; therefore, a physicist affects an electron's "fate" in the act of observing it. Similarly, in Projectivist poetics, the perceptions of the reader are often enlisted to help "compose" the poem which is offered to him in "pieces," or, as in Robert Duncan's poetry especially, in self-reflexive segments. By "self-reflexive," we further mean that the Projectivist poem often "mirrors itself" as an electron "mirrors itself" as wave or as particle, while it is paradoxically both. A Projectivist poem may pause halfway through and "unravel" itself, i.e., study its own etymology. The reader thus must participate in "putting the poem back together," as the physicist participates in the phenomena he observes. The second epistemological model in physics and poetry stresses becoming, rather than being. Matter at the subatomic level has been defined as energy-in-flux. Similarly, the Projectivist poems of Charles Olson especially often exist as "fields" with no syntactical beginnings or endings. Moreover, the "I" of the Maximus Poems is often seen in a perpetual process of becoming the world of spacetime in the poems, creating a system similar to the being-and-becoming model of particle-and-field in quantum mechanics. Third, wholeness is a premise governing poetry and physics separately and together. Jack Spicer's thematics blend matter and consciousness, as "love and death matter/Matter as wave and particle." Similarly, Robert Duncan's poetics describes a "dancing organization between personal and cosmic identity." In physics, wholeness is seen primarily in an "implicate order" which attempts to overturn the old paradigms of fragmentation and connect matter and consciousness, including language, as interrelated systems of information.
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Lacroix, Michel 1969. "La beaute comme violence : la dimension esthetique du fascisme francais, 1919-1939." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37754.
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Everything about fascism is aesthetic: this is what our thesis aims to demonstrate, based on the example of interwar French Fascism (1919--1939). It studies both discourses, symbolic practices, and literary texts, in order to show the multiple aspects of fascism's aesthetic dimension. Two theories, discourse analysis and sociocriticism, have guided us and permitted us to explain the interaction between aesthetics and ideology.Our thesis is divided in three parts, each one devoted to one of fascism's central themes: the leader, the youth, and the group. In our first chapter, we examine the charismatic leader's many faces, among which are the poet and the warrior. We then show that fascism's discourse on heroism makes of the epic hero an ideological model and that, in its turn, this ideological hero greatly influenced Pierre Drieu la Rochelle's representation of the hero. But, as we indicate, Drieu's novels reveal that the cult of the hero is both a glorification of the self and a self-hatred. In our second chapter we examine fascism's cult of youth such as it was in Italy and Germany, after which we have demonstrated that, in a way, French fascism was an extreme radicalization of the contemporary French discourse on youth. Then, we analyse one of Robert Brasillach's novels which brings to the fore the dark side of fascism's cult of youth: its death drive.
In our last chapter, we unearth the aesthetic principles underlying fascism's political spectacle, principles that we also find at the heart of Drieu's texts. We consequently state that Drieu has adopted fascism's aesthetic years before he realized he had fascist ideas. Going a little further yet, we stipulate that Drieu thus reveals that the aesthetic was one of the main roads towards fascism. We then establish, in our final conclusion, a synthetic description of fascist aesthetics: an aesthetics of pathos, exhibition, sublime, violence, and death.
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Hamman, Frans Josias. "Sarah Kane en die liriek as literêr-musikale interteks." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6475.
Full textAbstract:
Thesis (MDram)--University of Stellenbosch, 2011.AFRIKAANSE OPSOMMING: Die literêre interteks staan sentraal tot die teks-analitiese proses en die gevolglike ontsluiting van betekenis binne die oeuvre van Sarah Kane, maar in die huidige besprekings van haar werk, word hierdie interteks alleenlik tot literatuur soos die roman, die gedig en die teaterteks beperk. Die gevolg is dat daar ‘n totale verontagsaming van die neerslag van die liriek as nóg ‘n tipe literêre interteks is. Beide James Macdonald (in Fisher 2001b) en Iain Fisher (2001b) dui daarop dat lirieke van heelparty orkeste - o.a. Joy Division, Radiohead, Nirvana en die Beatles - in Kane se werk nagespeur kan word, maar geeneen blyk ondersoek na die moontlike redes vir die ontlening daarvan óf hoe dit die betekeniswaarde van haar werk informeer, in te stel nie. Deur op Still en Worton (1990:1-2) se teorie dat die leser van ‘n teks sy/haar eie intertekste op daardie teks van toepassing kan maak in ‘n poging om die betekenis daarvan te ontsluit (selfs al word betrokke intertekste nie noodwendig deur die skrywer erken nie), te trek, word daarop gedui waar en hoe verskeie lirieke van voorgenoemde vier orkeste hul neerslag in vier van Kane se dramas, Phaedra’s Love, Cleansed, Crave en 4.48 Psychosis vind. Na gelang van Michael Riffaterre (1990:58) se teorie omtrent “connectives” (in hierdie geval die lirieke wat Kane se tekste met liedjies uit die populêre kultuur verbind) en hoe ‘n deeglike voorkennis daaromtrent die leser daartoe in staat stel om te bepaal of betrokke “connective” wel die teenwoordigheid van ‘n interteks daarstel al dan nie, word ‘n deeglike studie van elkeen van die lirieke gedoen. Daarna word verskeie raakpunte tussen hierdie lirieke en Kane se tekste uitgewys, hetsy dit met onderwerpmateriaal of tematiek verband hou, sodat ge-argumenteer word dat hierdie lirieke wel as intertekste beskou kan word. Vervolgens word die betekenisse van die onderskeie lirieke op Kane se dramas (spesifiek die tematiek daarvan) van toepassing gemaak en daar word ge-argumenteer dat hierdie intertekste óf bestaande beskouings daarvan ondersteun en moontlik daarop uitbrei óf dat dit tot radikaal nuwe insigte omtrent haar werk aanleiding gee, sodat nuwe en oorspronklike benaderings tot tematiek en karakters in die toekoms gevolg sou kon word. Uiteindelik illustreer ek aan die hand van my meestersproduksie empty (2010) hoe ek my benadering tot die neerslag van die liriek as interteks in Kane se werk op genoemde produksie van toepassing gemaak het, sodat die betekenis daarvan ook na gelang van die liriek as interteks duidelik word.
ENGLISH ABSTRACT: The intertextual relationship between Kane’s own work and those literary sources she derives ideas and adopts words from, plays a vital part in the textual analysis of her oeuvre. However, current discussions about and analyses of this intertextual relationship only focus on the novel, the poem and the play as literary intertexts and their subsequent influence on the interpretation of her work. This results in a complete disregard for the lyric’s use as another type of literary intertext (where the lyric is to be understood as the written and not the sung word). James Macdonald (in Fisher 2001b) and Iain Fisher (2001b) both refer to the presence of lyrics from various bands - among them Joy Division, Radiohead, Nirvana and The Beatles - in Kane’s work, but neither of them preoccupy themselves with the further investigation as to why these lyrics have been borrowed or how they inform the interpretation of her work. Drawing on Still and Worton’s (1990:1-2) theory that “the reader’s experience of some practice or theory unknown to the author may lead to a fresh interpretation” of any given text he/she reads (i.e. where the reader applies the knowledge about his/her own intertexts in an attempt to decipher the meaning of the text he/she is currently reading or studying), a clear indication of where and how various lyrics from aforementioned bands can be found in four of Kane’s dramas: Phaedra’s Love, Cleansed, Crave and 4.48 Psychosis. Based on Michael Riffaterre’s (1990:58) theory of “connectives” (in this case those lyrics which establish a connection between Kane’s plays and songs from popular culture) and how proper foreknowledge about these “connectives” can help in determining whether they do establish an intertextual relationship between the play and the song(s) or not, a thorough study of every lyric is undertaken and various similarities between them and Kane’s plays are highlighted. Based on these similarities (whether it be with regard to themes, subject matter or characterization), arguments are made that these lyrics should be viewed as intertexts, and the meanings and analyses of these lyrics are subsequently applied to Kane’s work. In the end these literary intertexts either support existing views and interpretations of her work, or they lead to radically new insights about the work, so that new, innovative and original approaches can henceforth be followed with regard to themes and characterization in her work. Finally I use my own master’s production, empty (2010), as an example to illustrate how I applied the research I have done about the lyric as an intertext in Kane’s work, on my own work and how these various lyrics help to give a better understanding of the play.
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Duce, Cristy Lee. "In love and war : the politics of romance in four 21st-century Pakistani novels." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of English, 2011, 2011. http://hdl.handle.net/10133/3127.
Full textAbstract:
Writers of fiction have long since relied on love, romance, and desire to drive the
plots of their work, yet some postcolonial authors use romance and interpersonal
relationships to illustrate the larger political and social forces that affect their relatively
marginalized experiences in a global context. To illustrate this literary strategy, I have
chosen to discuss four novels written in the twenty-first century by Pakistani authors: Tbe
Reluctant Fundamentalist by Mohsin Hamid, Trespassing by Uzma Aslam Khan, The
Wasted Vigil by Nadeem Aslam, and Burnt Shadows by Kamila Shamsie. With the
geographical origin of these writers as a common starting place from which to compare
and contrast their perspectives on global politics, their understandings of gender, and
their perceptions of how the public and the private constitute and intersect each other, I
will use postcolonial theory to dissect the treatment of romance in their respective novels.v, 85 leaves ; 29 cm
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Campbell, Christopher Darnell. "A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2130.
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Burton, Benjamin Robert. "The Revolution Will Not Be Politicized: Political Expression in the Manga Adaptations of Kanikōsen." PDXScholar, 2017. https://pdxscholar.library.pdx.edu/open_access_etds/4157.
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Kobayashi Takiji's (1903-1933) Kanikōsen (The Crab Cannery Ship, 1929), the outstanding work from the proletarian literary movement, experienced an influx of new adaptations into various mediums during the years that preceded and followed the "Kanikōsen boom" of 2008. This thesis focuses on two manga adaptations that provide readers with starkly different takes on the original story. Using theories by Scott McCloud and Azuma Hiroki, I first attempt to draw parallels between the form of manga and that of the novel. Then, I examine the manner in which the most explicitly political content of the novel is adapted into the manga versions. Through this examination of form and content, it becomes apparent that, despite their differences, both adaptations reinforce a vague, individualist-humanist ideology that undermines the notions of class consciousness and class struggle that are central to the narrative of Kanikōsen. This diminishing of the explicitly "Red" aspects of the original reflects the Japanese public's general aversion to politics that has persisted since the early 1970's until this day.
Books on the topic "1919-1971 Criticism and interpretation"
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Ranocchi, Francesco. Paolo Soleri: 1919. Roma: Officina, 1996.
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Rheeden, Herbert van. W.J. Roozendaal, 1899-1971. Zutphen: Walburg Pers, 1998.
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Anagnōstakēs, Manolēs. Los poemas, 1941-1971. Madrid: Clásicas, 1996.
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Erinç, Sıtkı M. Ercümend Kalmık, 1908-1971. [Ankara]: Türkiye Halk Bankası, 1991.
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Inglada, Modest Urgell i. Modest Urgell, 1839-1919. Barcelona: Centre Cultural de la Fundació "la Caixa", 1992.
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Anton, Kruft, ed. Jan Sluijters: Oorlogsprenten, 1915-1919. Zwolle: Museum de Fundatie, 2014.
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1872-1971, Bacarisas Gustavo, ed. Gustavo Bacarisas (1872-1971). Sevilla: Diputación de Sevilla, Servicio de Archivo y Publicaciones, 2005.
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Crnković, Vladimir. Ivan Lacković Croata: Crteži, 1957-1971. Zagreb: Matica hrvatska, 1997.
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Shirvanzade. Shirvanzadei hraparakakhosakan zhaṛangutʻyunitsʻ, 1914-1919 ttʻʻ. Erevan: Heghinakayin hratarakutʻyun, 2006.
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Shirvanzade. Shirvanzadei hraparakakhosakan zhaṛangutʻyunitsʻ, 1914-1919 ttʻʻ. Erevan: Heghinakayin hratarakutʻyun, 2006.
Find full textBook chapters on the topic "1919-1971 Criticism and interpretation"
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Kindratiuk, Bohdan. "DEVELOPMENT OF MUSIC CULTURE IN THE WESTERN REGION OF THE UKRAINIAN PEOPLE’S REPUBLIC (1918–1919)." In Development of scientific, technological and innovation space in Ukraine and EU countries. Publishing House “Baltija Publishing”, 2021. http://dx.doi.org/10.30525/978-9934-26-151-0-44.
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This is the first scientific study with an aim to systematically describe the development of components of multinational musical culture in the Western Region of the Ukrainian People’s Republic (ZOUNR). The methodology of our study is also based on the interpretation of new materials. Analysis of facts and systematization of information on the development of music as a subject of research confirm the hermeneutic nature of this study. The application of the historical and anthropological approach reinforces one of the reasons for the emergence of musical works and the development of this genre of art as interdependent parts of the systemic process “creation – performance – perception”. The scientific novelty of the article lies in the study of the manifestations and nature of musical culture in ZOUNR. The development of music was defined by the spiritual uplift of Ukrainians as a result of the proclamation of their independent state, the need to fight for it at the front and in the rear. The activation of artistic life was facilitated by the freedom of public self-validation through music and thanks to it. Works with civic and patriotic content became especially relevant. Church music had its own features. The increase in the number of Ukrainian soldiers has diversified national military music-making. The song repertoire was enriched by works created or reworked at that time. There were many performances by professional artists, and notes were printed as well. The fact that the money they earned were transferred to the wounded and widows stimulated the development of the skills of the performers at concerts, caroling, and parties. The development of music was facilitated by the demand for theatrical performances and music criticism. At that time, a style of “musical Biedermeier” was in its third stage of development. In modern circumstances, art performed its inherent social and cultural functions well both at the front and in the rear. Conclusion. The activities of the ZOUNR citizens in the field of culture testified to the high importance of musical art during the war. Essays on its development give grounds for asserting the fact of a significant contribution of this period to the history of Ukrainian music.
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Naas, Michael. "Intermission 2: Glyph 2." In Class Acts, 55–58. Fordham University Press, 2021. http://dx.doi.org/10.5422/fordham/9780823298396.003.0006.
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This subchapter (or second “intermission” in the play “Derrida in Montreal”) returns to the 1977 debate between Jacques Derrida and John Searle over the interpretation and inheritance of the speech act theory of John Austin. This chapter focuses on Derrida’s response in the essay “Limited Inc” to John Searle’s criticisms of his 1971 essay “Signature Event Context.” It is argued here that Derrida is, in many ways, the more faithful of Austin’s heirs, even though he will have taken speech act theory in directions that Austin would have no doubt been loath to endorse.
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"At a Sándor Bortnyik Exhibition in Budapest (June 1919): A Hungarian Critic’s Interpretation of ‘Futurism’." In 2020, 309–14. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110702200-012.
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