Relevant bibliographies by topics / 1920-1999 Criticism and interpretation

Academic literature on the topic '1920-1999 Criticism and interpretation'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "1920-1999 Criticism and interpretation"

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Malinkin, Alexander. "To the History of Russian Sociology of the 1920–1930s: Soviet Marxism vs “Sociology of Knowledge”." Sociological Journal 27, no. 3 (September 28, 2021): 147–74. http://dx.doi.org/10.19181/socjour.2021.27.3.8428.

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In the 1920’s Marxism, having become the state ideology of Soviet Russia, took a leading position among the political ideologies of Europe in terms of its influence on the minds and hearts of people. The teachings of K. Marx and F. Engels received various interpretations, among which “sociology of knowledge” in the interpretation of M. Scheler and K. Mannheim earned the most recognition in the academic environment. It originated in Germany in the mid 1920’s as a result of criticism of the Marxist “theory of ideology”, of “economist” limitations of the materialistic vision of man, of history and society. In the USSR “sociology of knowledge” was understood to be the most refined attempt to overcome Marxism. The essential characteristics of Marxism and “sociology of knowledge” as interpreted by K. Mannheim are revealed, while being subjected to comparative and critical analysis. The first reaction of Soviet Marxist sociologists to “sociology of knowledge” is analyzed. In the light of this reaction, it was presented as “social fascism”. The specifics of how the teachings of K. Marx and F. Engels existed in the USSR during the 1920s–1930’s are evaluated. “Historical materialism” is qualified as a sociological methodology of suspicion, and the practice of its application by the Bolsheviks as a form of discrimination and persecution in society based on social class and social group affiliation.
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Abd. Rahman, Wiji Nur Asih,. "BIOGRAPHY OF ABDURRAHMAN SAYOETI THOUGHT (1965 – 1999)." Istoria: Jurnal Ilmiah Pendidikan Sejarah Universitas Batanghari 1, no. 1 (October 14, 2017): 34. http://dx.doi.org/10.33087/istoria.v1i1.3.

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Abstrac This study aims to provide an overview of the biography of Abdurrahman Sayoeti thought (1965-1999). The research method used is historical method, which is a process of testing and critically analyzing past events, with stages starting from heuristics, criticism, interpretation, historiography. The results of various important positions have been held by Abdurrahman Sayoeti, first became director of APDN in 1965, through the leadership of Abdurrahman Sayoeti, has given birth to quite a lot of graduates and has the leadership seeds to build Jambi area, secondly, as Sekwilda Level I Jambi up to two periods (1969), Abdurrahman Sayoeti's career was so developed that it was given the confidence to develop regional tasks accompanying Governor Macshun Syofwan, as Deputy Governor of KDH Level I Jambi one period (1985). Finally in the peak of his career through elections conducted by representatives of the people in the Jambi Provincial Legislative and with full support by the people so as to make Abdurrahman Sayoeti as Governor of Jambi for two periods, from 1989 to 1999. The results of career into Governor of Jambi Province, Abdurrahman Sayoeti giving a lot of many change to build Jambi area.Keywords : Biography, Abdurrahman Sayoeti Thought
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Viranda, Datuk Divan Iqbal, Muhammad Azmi, and Muhamad Sopyan. "Sejarah Pemekaran Kabupaten Malinau (1999-2006)." Langgong: Jurnal Ilmu Sosial dan Humaniora 1, no. 2 (January 31, 2022): 106–16. http://dx.doi.org/10.30872/langgong.v1i2.1423.

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Malinau Regency was originally one of the sub-districts in Bulungan Regency, on October 12, 1999 there was a regional division where Malinau was separated from Bulungan Regency to become its own regency. The purpose of this study was to find out the background of the division and how the development of Malinau District after the division occurred from 1999 to 2006. This type of research is a historical research with a four-stage historical method which includes heuristics, criticism, interpretation, and historiography. The results showed that the background of the division of Malinau into a district was a decision taken by the Regional Government of Bulungan Regency which at that time was led by Regent R.A. Besing. On the grounds that the area of ​​Bulungan Regency at that time, if not divided, would experience a gap because it had a very large area at that time, it was necessary for him to split this area into 3 regencies, namely Bulungan Regency itself, Malinau Regency, and Nunukan Regency. After the division took place, it certainly had an impact on the people of Malinau, both in terms of economy, education, and health. From the economic aspect itself, it has increased from 2006 to Rp. 554.07 billion. Then in the same year, the education sector also experienced an increase which reached 113 school buildings, as well as for the health aspect it had reached 121 units of health facilities including hospitals, posyandu, and posyandu assistants in 2006
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Havelock, Rohan. "THE “UNITARY EXERCISE” OF CONTRACTUAL INTERPRETATION." Cambridge Law Journal 76, no. 3 (November 2017): 486–89. http://dx.doi.org/10.1017/s0008197317000745.

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LORD Hoffmann's famous “restatement” of the principles of contractual interpretation in Investors Compensation Scheme v West Bromwich Building Society [1998] 1 W.L.R. 896, 912–13, was heralded as a “quiet revolution” (McLauchlan (2000) 19 N.Z.U.L.R. 147, at 148) in that it appeared to overthrow the legalistic approach of the past. That approach, often associated with the “plain meaning rule” (Bank of New Zealand v Simpson [1990] A.C. 182 (PC), 189) involved giving effect to the expressed meaning of the text, which (limited exceptions aside) could not be contradicted by the relevant background (or matrix of fact). By contrast, the approach in ICS mandated the Court to search for the apparently intended meaning by consulting the relevant and admissible background in all cases. The ICS approach rapidly became dominant, and indeed orthodox, across multiple jurisdictions. However, in a series of judgments commencing with Re Sigma Finance Corporation [2009] UKSC 2; [2010] 1 All E.R. 571, the Supreme Court of the United Kingdom has gradually moved away from the approach in ICS (albeit without expressly overruling it) and emphasised the importance of giving effect to the natural and ordinary meaning of the words used, in combination with other factors (see especially Marley v Rawlings [2014] UKSC 2; [2014] 2 W.L.R. 213, at [18]–[19]; Arnold v Britton [2015] UKSC 36; [2015] A.C. 1619, at [14]–[23]). This return to a more traditional approach to interpretation vindicates sustained criticism of the validity of the ICS approach in principle and practice (see e.g. Staughton [1999] C.L.J. 303; Berg (2006) 122 L.Q.R. 354; Buxton [2010] C.L.J. 253).
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Pianto, Heru Arif. "The Legal Efforts on Marine Culture Development in Pacitan, 1999-2015." Indonesian Historical Studies 1, no. 1 (June 5, 2017): 78. http://dx.doi.org/10.14710/ihis.v1i1.1241.

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Beach is one of the most famous tourism areas in Pacitan. Beaches in Pacitan have special features compared to other beaches. The beautiful nature is able to attract tourists to come, visit and enjoy it. Therefore, the beaches in Pacitan have a lot of possibilities to be a tourism area of marine culture.This article is a historical research. The method used in this study was a historical research method, consisting of four steps, heuristics, criticism, interpretation and historiography. The results of this study indicate that the beaches in the Pacitan region have special attraction for tourists to visit.Thus, to be a tourism area of marine culture, Pacitan requires a better management. Based on research conducted so far, the beaches in Pacitan have not been managed optimally, due to a lack of facilities, and low human resources as managers. In short, it is the responsibility of communities, private parties and local governments to maximize the quality of management of coastal tourism around Pacitan, and their cooperation is need. Therefore, the beaches can be a tourist area of marine culture that can grow rapidly in Pacitan region.
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Belous, Anastasya A. "Russian elements or spiritual desert? (on the interpretation of the image of Stavrogin in the Russian emigrant criticism of 1920−1930s)." Sibirskiy filologicheskiy zhurnal, no. 1 (March 1, 2012): 96–99. http://dx.doi.org/10.17223/18137083/38/13.

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Saputro, Moch Fajar Barep, Sugiyanto Sugiyanto, Rully Putri Nirmala Puji, Bambang Soepeno, Jefri Rieski Triyanto, and Guruh Prasetyo. "PUHSARANG CHURCH AS A RELIGIOUS TOURISM OBJECT IN KEDIRI DISTRICT 1999-2015." JURNAL HISTORICA 6, no. 1 (June 27, 2022): 98. http://dx.doi.org/10.19184/jh.v6i1.28030.

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Puhsarang Church is a famous religious tourism object in Kediri District, located in Puhsarang Village 10 kilometers from the center of Kediri District. Having the unique architecture of buildings and religious facilities and the beauty of the natural panorama makes Puhsarang Church famous by tourists. The research objectives are: 1) knowing the background of the Puhsarang Church designated as a religious tourism object in 1999; 2) knowing the management of Puhsarang Church as a religious tourism object in 1995-2015. Research using historical methods include: Heuristics, Criticism, Interpretation, Historiography. The result of the research is that the construction of the Puhsarang Church was planned by Henricus Maclaine Pont and was built on the initiative of Pastor Wolters in 1936. Puhsarang Church underwent renovation in 1999, the expansion of the Puhsarang Church area and a new building was built. After being inaugurated the Puhsarang Church area was used as a religious tourism object. The management of the Puhsarang Church is under “Yayasan Badan Pengelola Ziarah Gereja Puhsarang”. Suggestions for this research are: For other researchers, it can be used as a contribution of thoughts and references, for the government must participate in preserving historical heritage in their area.
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Fagniez, Guillaume. "Karl Löwiths Kritik der geschichtlichen Existenz." Deutsche Zeitschrift für Philosophie 67, no. 5 (December 2, 2019): 789–804. http://dx.doi.org/10.1515/dzph-2019-0058.

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Abstract This paper examines the “critique of historical existence” as a main theme in Karl Löwith’s philosophical works and discusses its emergence, its exact meaning and its contemporary relevance. First, the study shows that Löwith’s critique of History stems from his preoccupation with the question of nihilism. He first discusses the question of “the world as such” in the 1920’s in the context of his anthropological project, and then again in the 1930’s as part of his interpretation of the work of Nietzsche. Secondly, a distinction is proposed between, on the one hand, Löwith’s investigation into the “theological background of the philosophy of history” and, on the other hand, his radical criticism of history as a “historical world”. Finally, the paper sheds light on the difficulties that challenge the project of overcoming the modern historical paradigm, and goes on to discuss the new relevance that Löwith’s philosophy could have today in order to think anew the relationship between nature and history.
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Badri, Mohamad Il. "Reforma Agraria Upaya Penyelesaian Konflik Tanah di Kecamatan Jenggawah Kabupaten Jember Tahun 1999-2005." MUKADIMAH: Jurnal Pendidikan, Sejarah, dan Ilmu-ilmu Sosial 6, no. 1 (February 16, 2022): 129–37. http://dx.doi.org/10.30743/mkd.v6i1.5912.

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The purpose of this paper is to determine the process of resolving agrarian conflicts and the process of inventorying and granting land certificates to farmers. The urgency of this paper can theoretically be an important part in the context of resolving agrarian conflicts that often occur in Indonesia. The method used is the historical method consisting of Heuristics, Criticism, Interpretation and Historiography. Agrarian conflicts in Jenggawah District, Jember Regency occurred in 1969 and 1994-1995. The government is trying to find a solution through the implementation of agrarian reform by providing a policy for solving agrarian problems. Efforts to resolve the Jenggawah land conflict through agrarian reform are marked by a process of preparing for the implementation of an inventory, asset management and access arrangement. Asset management consists of redistribution and legalization of land. Access arrangements are carried out in order to improve the economy, add value and encourage entrepreneurial innovation on the subject of agrarian reform for Jenggawah farmers. Through this research, it can be concluded that agrarian reform can be one of the solutions for resolving land conflicts in Indonesia, especially in Jenggawah.
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Vasic, Aleksandar. "Serbian music criticism in the first half of the twentieth century: Its canon, its method and its educational role." Muzikologija, no. 8 (2008): 185–202. http://dx.doi.org/10.2298/muz0808185v.

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Serbian music criticism became a subject of professional music critics at the beginning of the twentieth century, after being developed by music amateurs throughout the whole previous century. The Serbian Literary Magazine (1901- 1914, 1920-1941), the forum of the Serbian modernist writers in the early 1900s, had a crucial role in shaping the Serbian music criticism and essayistics of the modern era. The Serbian elite musicians wrote for the SLM and therefore it reflects the most important issues of the early twentieth century Serbian music. The SLM undertook the mission of educating its readers. The music culture of the Serbian public was only recently developed. The public needed an introduction into the most important features of the European music, as well as developing its own taste in music. This paper deals with two aspects of the music criticism in the SLM, in view of its educational role: the problem of virtuosity and the method used by music critics in this magazine. The aesthetic canon of the SLM was marked by decisively negative attitude towards the virtuosity. Mainly concerned by educating the Serbian music public in the spirit of the highest music achievements in Europe, the music writers of the SLM criticized both domestic and foreign performers who favoured virtuosity over the 'essence' of music. Therefore, Niccol? Paganini, Franz Liszt, and even Peter Tchaikowsky with his Violin concerto became the subject of the magazine's criticism. However their attitude towards the interpreters with both musicality and virtuoso technique was always positive. That was evident in the writings on Jan Kubel?k. This educational mission also had its effect on the structure of critique writings in the SLM. In their wish to inform the Serbian public on the European music (which they did very professionally), the critics gave much more information on biographies, bibliographies and style of the European composers, than they valued the interpretation itself. That was by far the weakest aspect of music criticism in the SLM. Although the music criticism in the SLM was professional and analytic one, it often used the literary style and sometimes even profane expressions in describing the artistic value and performance, more than it was necessary for the genre of music criticism. The music critics of the SLM set high aesthetic standards before the Serbian music public, and therefore the virtuosity was rejected by them. At the same time, these highly professional critics did not possess a certain level of introspection that would allow them to abstain from using sometimes empty and unconvincing phrases instead of exact formulations suitable for the professional music criticism. In that respect, music critics in the SLM did not match the standards they themselves set before both the performers and the public in Serbia.
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Dissertations / Theses on the topic "1920-1999 Criticism and interpretation"

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Spens, Janet McKenzie. "The art of Arthur Boyd." Thesis, University of St Andrews, 2002. http://hdl.handle.net/10023/14489.

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Arthur Boyd (1920-1999) presents art historians with an exceptionally complex critical dimension in terms of his position in twentieth century painting. Although he is considered to be one of the most distinguished Australian painters of the century, in terms of the originality and accomplishment exhibited over five decades (the other being Sir Sidney Nolan O.M,.R.A.), Boyd has been, to date, ill-served by contemporary historians. The earlier definitive publication, by Franz Philipp was published in London as early as 1967. There was subsequently a relatively brief study by Dr Ursula Hoff (1986). In both cases the research was valuable, given the social and cultural climate of each respective period, but their conclusions demand revision in the present perspective. Boyd's completed oeuvre is now open to revisionary analysis in art historical terms, in the light of evolving and more demanding criteria with respect to a properly contemporary social and cultural perspective. My work was in large part complete by 1996, after which the artist suffered terminally from a physically and mentally debilitating condition ; he died three years later. In a radical reappraisal I have accordingly reviewed the chronological progression of his work in various media. This is charted and analysed in terms of its transition from the relatively benign landscape and figurative subject material in the prewar period , then following the trauma of world war a transformation into a more psychologically riven genre of allegorical departures from harmony and visual cohesion; to work driven by global knowledge of atrocity and deprivation. As the postwar work developed, the artist's imagery reflected a deliberate level of appropriation of subject and composition. An awareness of European narrative painting grew at first hand, deployed by him subsequently to develop content via specific collaborations in graphic work, with established scholars and poets. In the 1960s and 1970s Boyd successfully evolved, with his exceptional technical proficiency and draughtmanship, a model whereby religious or historical narrative text was combined with an expanding repertoire of Boyd imagery. I have explored this process and its results to find an original connectivity not previously evaluated. This examines the development of the oeuvre as between thematic content and its expression through Boyd's personal language in painting. Of particular significance I have reappraised Boyd's Bride paintings of the 1950s in the light of the Human Rights and Equal Opportunity Commission's report, Report of the National Inquiry into the Separation of Aboriginal and Torres Strait Islander Children from their Families, (1997). In doing so Boyd can be seen as both a courageous and a highly original artist who sought to expose the ills of society through painting. At the same time his work is the product of the ignorance of white Australians in their comprehension of the plight of Australia's dispossessed Indigenous race. These social aspects are here exposed for the first time in my conclusions as essential to the complete reappraisal of Arthur Boyd's ultimate standing in terms of present day critique.
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Galbraith, Katharina S. "Maria Beig : neue Heimatliteratur zwischen Nostalgie und Zuversicht." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68092.

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This thesis examines the semi-autobiographical work of Maria Beig in the context of traditional and contemporary regional literature. It attempts to do justice to her work as a whole. The style and content of her work are discussed with reference to topics of literary theory relating to regional literature, such as the village novella, or anti-idyllic elements, to mention only those most discussed. A further emphasis of the thesis is the question of academic reception of regional literature, in relation to the genre generally and to Maria Beig's work--that of a "poeta non docta"--in particular. Finally there is a (short) discussion of "women's issues". Such a discussion cannot be omitted, as Maria Beig is a modern woman writer whose main characters are almost exclusively feminine, and whose texts often raise questions concerned with gender.
Included in the appendix are a transcript of an interview between Maria Beig and the author, and a self-written life story which Maria Beig made available to the author. These represent an indispensable aid to the reading and understanding of the thesis.
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Martin, Joseph H. "Keeper of the protocols : the works of Jens Bjørneboe in the crosscurrents of western literature." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27450.

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Keeper of the Protocols argues that Jens Bjørneboe was a consciously European author, of international stature, whose works cannot be properly understood if treated simply as the product of a "Scandinavian" writer. As Bjørneboe remains for the most part untranslated into English, the objectives of the study are two-fold: to introduce the works of Jens Bjørneboe, and to provide a detailed commentary on influence in his works from classic and contemporary sources. The first chapter serves as an introduction to Bjørneboe supplying a concise overview of his literary career as playwright, novelist, poet and essayist. In chapter two, his early achievements as a poet and novelist are discussed. The point of departure for the earliest works lies in the spiritual system of Anthroposophy and the powerful influence of Rilke. The chapter culminates with commentaries on his highly controversial debate-novels. The third chapter is an extended study of his pivotal trilogy known as "The History of Bestiality": Frihetens øyeblikk (1966), Kruttårnet (1970) and Stillheten (1973). While the trilogy represents a confrontation with Western , culture, it also depicts modern man in a world devoid of values and meaning. Here, the influence of Nietzsche and Sartre are traceable. In the trilogy, Bjørneboe's thinking on violence and society intersects with that of Michel Foucault and René Girard. The fourth chapter is a discussion of Bjørneboe and the theater. As a Norwegian dramatist who rejected Ibsen's form of theater, he found recourse alternately in Brecht, Strindberg and Tennessee Williams. Bjørneboe's major plays can best be understood in light of this set of influences. The fifth and final chapter examines the "anarchism" which was Bjørneboe's final philosophical resting place. The parallels with Camus's ideas in L'Homme revolté are readily discernible. Bjørneboe's final novel, Haiene (1974), which was to commence his "History of Freedom," is a sea novel which invites comparison with Conrad, particularly Conrad's conception of history. Bjørneboe's letters and unpublished autobiography show an increasing preoccupation with the split between social and metaphysical concerns. His final months, and his assessment of his own literary accomplishment, are reviewed in light of this conflict.
Arts, Faculty of
English, Department of
Graduate
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Ng, Yee Ki. "Eliminating clichés : the evolution of Jerzy Grotowski's self-revealing encounters (1957-1970)." HKBU Institutional Repository, 2011. http://repository.hkbu.edu.hk/etd_ra/1249.

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Suescun, Pozas María del Carmen. "Lygia Clark and the European tradition : tracing the appearance of a different space." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26761.

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For almost 35 years the work carried out by the Brazilian artist Lygia Clark between the 1950s and until her death, in 1988, has attracted the attention of both Brazilian and European scholars and critics. Since special attention has only been given to her post-1969 work, the work carried out until 1969 has been overlooked. In particular, I would argue that through the incorporation of the human body Clark's 1959-1964 Bicho series is the first spatial performative strategy developed by Clark during the 1960s and against which all her subsequent production needs to be read.
The present essay is thus an attempt to read as spatial performative strategies Clark's Bicho series with and against the Brazilian reception of Mondrian, reception which, as I would argue has been overlooked in the context of her work. Furthermore, I would argue that in order for us to better understand how the Bicho series unfold as spatial performative strategies the Brazilian reception of Mondrian must be approached through the Brazilian reception of Merleau-Ponty's phenomenology and political and cultural movements of the time. While the role played by Merleau-Ponty's incorporation of the human body in Clark's work has not been closely examined, Clark's engagement with the political and cultural movements of her time has been underestimated. I would argue that any attempt to give an account of Clark's practice needs to take into consideration the role these three aspects played in her engagement with the problem of representation.
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Kok, Marina Susan. "An investigation of masculinity in J. M. Coetzee's disgrace (1999)." Thesis, Nelson Mandela Metropolitan University, 2008. http://hdl.handle.net/10948/783.

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The study of Masculinity is a fairly new phenomenon which developed as a refinement of gender studies. The theoretical frameworks on masculinity are still under development and are often severely contested. This study proposes to examine the dynamics of masculinity studies, critiquing the notion of ‘masculinity in crisis’. The premise of the masculinity in crisis debate is that men are experiencing an increasing sense of powerlessness. This dissertation aims to examine the masculine identities represented in Disgrace and to test whether they are better understood through the lens of masculine theory. The disgraceful situation of David Lurie is arguably not merely a result of hapless circumstance, but rather illustrates significant parallels with the crisis debate. The basic premise of this debate is that the behaviour previously condoned and applauded as healthy 'manliness' is now being labelled as anti-social and destructive. It is not just masculine roles that are under threat. Other forces behind the crisis are “the loss of masculine rights and changes in the pattern of employment” (Beynon 2002:75). One view held by theorists of masculinity studies is that for real change to occur, a fluid definition of masculine identity is needed. In J.M. Coetzee’s Disgrace (1999), the main protagonist is David Lurie. He may arguably be said to typify a masculinity that is in a state of crisis because of his stoic refusal throughout the novel to change or reform: “I was offered a compromise, which I would not accept”, he says, and: “Re-education. Reformation of the character. The code word was counselling” (1999:66). His aversion to such counselling and refusal to compromise mark his resistance to change.
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Remillard-Belanger, Judith. "Galdós, o la novela como lectura de la historia." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33921.

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The objective of this thesis comes from a desire to ponder on the role played by Benito Perez Galdos' novels. As a prolific Spanish journalist, novelist and "historian," his work offers a deep insight into the second half of the nineteenth-century society for it depicts historical situations of that particular moment. Through the evolution of the author's artistic representation, we will assess the values he seeks to impart. Moreover, in conjunction with this artistic evolution, there is our perception of the various political changes and turmoils, that is, we shall try to understand these historial events, not so much in a rational manner, but rather according to the author's philosophical perception.
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Bonk, James Bruce. "Zheng Zhenduo and the writing of literary history in Republican China (1920-1940)." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99358.

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This thesis examines the institutionalization and practice of literary historiography in Republican China through the writings of Zheng Zhenduo (1898-1956). On the basis of a careful reading of Zheng's three book-length histories of Chinese and world literature, written from the early 1920s to late 1930s, the thesis questions the characterization of Republican literary historical scholarship as simply iconoclastic (vis-a-vis Chinese tradition) or derivative (vis-a-vis the West). It shows that Zheng's literary historiography was actually comprised of multiple and sometimes contradictory approaches to the past. These approaches were shaped, on the one hand, by the demands of a professional discipline that was constructed on the ideal of a universal literature but also faced with the task of integrating the Chinese people into history; and, on the other, by a confrontation and creative negotiation with earlier readings and valuations of Chinese literature.
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Morse, Sarah Elizabeth. "The black pastures : the significance of landscape in the work of Gwyn Thomas and Ron Berry." Thesis, Swansea University, 2010. https://cronfa.swan.ac.uk/Record/cronfa42924.

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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.
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Perrin, Julie. "Le role de L'existentialisme sartrien dans le roman L'arrache coeur = The role of Sartre's existentialism in the novel L'arrache coeur /." Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/PerrinJ2004.pdf.

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Books on the topic "1920-1999 Criticism and interpretation"

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Ana, Ojeda Bär, and Carbone Rocco 1975-, eds. Obra completa 1920-1930. Buenos Aires: El 8vo. loco Ediciones, 2008.

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Shiguehara, Alexandre Koji. Ao longo do rio: João Cabral e três poemas do Capibaribe. São Paulo: ECidade, 2010.

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Varas, Hernán Poblete. Luis Oyarzún Peña (1920-1972). [Chile]: Academia Chilena de la Lengua, 1985.

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Komoróczy, Emőke G. "Kassák az emigrációban", 1920-1926. Csepel: Csepeli Munkásotthon, Olvasó Munkás Klub, 1986.

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Siza, Alvaro. Alvaro Siza, 1995-1999. Edited by Levene Richard C and Márquez Cecilia Fernando. Madrid: El Croquis, 1999.

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Siza, Alvaro. Alvaro Siza, 1995-1999. Edited by Levene Richard C and Márquez Cecilia Fernando. Madrid: El Croquis, 1999.

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Helgi, Fossádal, ed. Ingálvur av Reyni 1920-2005. Tórshavn: Listasavn Føroya, 2009.

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Vieru, Elina. Åke Mattas: Oma kuva 1920-1962. [Tornio?]: Ars Nordica, 1991.

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Jürgen, Ritter. Kulturkritik in Taiwan: Bo Yang (1920-). Bochum: Brockmeyer, 1987.

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Ritter, Jürgen. Kulturkritik in Taiwan: Po Yang (1920-). Bochum: Brockmeyer, 1987.

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Book chapters on the topic "1920-1999 Criticism and interpretation"

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Camlot, Jason. "Alfred, lord Tennyson’s Spectral Energy." In Phonopoetics, 100–136. Stanford University Press, 2019. http://dx.doi.org/10.11126/stanford/9781503605213.003.0004.

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Chapter 3 tells the story of the multiple recordings made between 1890 and 1920, both by the poet himself and by actors and elocutionists, of Tennyson’s poem “The Charge of The Light Brigade.” It analyzes the kinds of performance and genre that informed the production of these recordings and locates the speech sounds heard on them in debates of the period about elocution and verse speaking. An account of late Victorian methods of “dramatic” interpretation as elaborated by Samuel Silas Curry in Imagination and Dramatic Instinct opens into a longer genealogy of oral interpretation, and considers the import of New Criticism as a method of literary interpretation that worked to silence oral performance in the classroom. The close listening in this chapter also explores the potential of digital speech analysis tools to help us to fix and visualize elocutionary, prosodic features of these recordings of “Charge.”
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Bonds, Mark Evan. "Introduction." In The Beethoven Syndrome, 1–18. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190068479.003.0001.

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This introduction outlines the structure of the book’s three parts, which correspond to the prevailing paradigms of expression from the perspective of composers and listeners alike. From about 1770 to 1830 (Part One), this was a paradigm of expressive objectivity, which operated within a framework of rhetoric, a theory of poetics. From around 1830 to around 1920 (Part Two), the prevailing paradigm was one of expressive subjectivity, which operated within a framework of hermeneutics, a theory of interpretation. Instrumental music was at the center of this new mode of listening. Critics continued to perceive vocal music primarily as the projection of a text, but they now began to hear instrumental music as a manifestation of its creator’s unique individuality. Mixed paradigms have coexisted in a state of tension since 1920 (Part Three).
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Waltman, Max. "Substantive Equality Prostitution Law, 1999–2019." In Pornography, 334–70. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197598535.003.0010.

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The chapter analyzes the impact of Sweden’s substantive equality prostitution law (a.k.a. Nordic Model) as a means of exploring potential challenges to pornography production. Comparisons of prostitution prevalence in Scandinavia, evidence of sex trafficking, sex purchasing, and attitudinal changes in the population are assessed. The law’s reduction of violence and increases in safety in prostitution are documented, along with evidence illustrating the importance of specialized exit programs. Critics, unwarranted skepticism, and symptomatic misinformation from academic sex industry apologists are addressed. Case law, rarely discussed outside Sweden, is critically reviewed, including early precedents that obstructed higher criminal penalties and civil remedies (e.g., damages and public support for prostitution exit). A civil rights amendment is proposed, which could be adopted via judicial interpretation or legislative means. The chapter concludes that comparatively seen, Sweden reduced prostitution extensively while making it safer. Similar effects are hypothesized to hold if the law applied to pornographers.
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Ramey, Mark. "Interpreting Fight Club." In Studying Fight Club, 67–99. Liverpool University Press, 2012. http://dx.doi.org/10.3828/liverpool/9781906733551.003.0005.

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This chapter presents a theoretical interpretation of Fight Club (1999). The interpretation of a film text invariably relies on the application of theory. Theory acts as a set of spectacles: looking at the world through its lenses sharpens focus, magnifies detail, and clarifies understanding. Studying Fight Club has already referenced a number of possible theoretical positions, such as postmodernism and feminism. The chapter explores these and other interpretive positions in depth. These include auteur theory; moral panics and media effects theory; political theory; psychoanalytic theory; gender identity and gender relations; postmodernism; and Nietzsche and nihilism. Gender remains the most critically appraised aspect of Fight Club. The film clearly can be read as an exploration of male identity in crisis. Meanwhile, some feminist critics find the film misogynistic and others see it as a homoerotic text.
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Kaznina, Olga A. "The Book by I.A. Bunin “Liberation of Leo Tolstoy” in the Context of Russian Emigre Literary and Philosophical Criticism." In Russian Émigré Literature, 1920–1940. Writer in Literary Process (to the 150th Anniversary of I.A. Bunin’s Birth), 95–206. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0685-7-97-208.

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The present article is devoted to the multidimensional analysis of the book by I.A. Bunin “Liberation of Leo Tolstoy” (1937). Attention is devoted to the history of its creation and to its unique structure, combining the genres of memoirs, journalistic sketch, diary, epistles and literary portrait with philosophical contemplation. Special consideration is paid to the properties of style of the text as well as to the development of the artistic image of Leo Tolstoy. The center of the research is occupied by the problem of the spiritual and religious quest of Tolstoy in the latest decades of his life, to his multifaceted concept of liberation and also to the enigma of his last flight from Yasnaya Poliana. Bunin’s interpretations are investigated on the complex background of literary, philosophical and theological evaluations of Tolstoy’s worldview, as it took shape after the spiritual crisis of his later years. Different reactions to his final escape are also taken into account. The article reflects the positions of G. Adamovitch, V. Hodasevitch, V. Maklakov, I. Shahovskoy, S. Bulgakov, as well as many other literary critics, philosophers and theologians. Bunin’s book is investigated as a source for the studies of spiritual and intellectual quest on the verge of the centuries, i.e. the end of the 19th and the beginning of the 20th century. Bunin’s book is presented also in the context of Russian émigré literary and philosophical criticism.
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"realities they name. Though corrupt, they remain dictions, fissures, discord, repressions, aporias, etc. divinely given and the poet’s burden is to purify the Inasmuch as their response is a product of their language of his own tribe. Words have been ‘wrested time, so is mine for I remain caught up in a vision of from their true calling’, and the poet attempts to the poem I had during my graduate years at the wrest them back in order to recreate that natural lan-University of Cambridge when I began seriously to guage in which the word and its reality again merge. read it. What I had anticipated to be an obscure alleg-Like Adam, he gives names to his creatures which ory that could be understood only by an extended express their natures. His word-play is a sustained study of its background became more clear the more and serious effort to plant true words as seeds in the I read it until I had the sense of standing at the reader’s imagination. In Jonson’s phrase, he ‘makes centre of a whirling universe of words each in its pro-their minds like the thing he writes’ (1925– per order and related to all the others, its meanings 52:8.588). He shares Bacon’s faith that the true end constantly unfolding from within until the poem is of knowledge is ‘a restitution and reinvesting (in seen to contain all literature, and all knowledge great part) of man to the sovereignty and power (for needed to guide one’s personal and social life. In the whensoever he shall be able to call the creatures by intervening years, especially as a result of increasing their true names he shall again command them) awareness of Spenser’s and his poem’s involvement which he had in his first state of creation’ (Valerius in Ireland, as indicated by the bibliographies com-Terminus). Although his poem remains largely piled by Maley in 1991 and 1996a, and such later unfinished, he has restored at least those words that studies as McLeod 1999:32–62, but best shown in are capable of fashioning his reader in virtuous and Hadfield 1997, I have come to realize also the pro-gentle discipline. What is chiefly needed to under-found truth of Walter Benjamin’s observation that stand the allegory of The Faerie Queene fully is to ‘there is no document of civilization that is not at the understand all the words. That hypothesis is the basis same time a document of barbarism’. The greatness of my annotation. of The Faerie Queene consists in being both: while it My larger goal is to help readers understand ostensibly focuses on Elizabeth’s court, it is impos-why Spenser was honoured in his day as ‘England’s sible even to imagine it being written there, or at any Arch-Poët’, why he became Milton’s ‘Original’ and place other than Ireland, being indeed ‘wilde fruit, the ‘poet’s poet’ for the Romantics (see ‘poet’s poet’ which saluage soyl hath bred’ (DS 7.2). in the SEnc), and why today Harold Bloom 1986: If Spenser is to continue as a classic, criticism must 2 may claim that he ‘possessed [mythopoeic power] continue to recreate the poem by holding it up as a . . . in greater measure than any poet in English mirror that first of all reflects our own anxieties and except for Blake’, and why Greenblatt 1990b:229 concerns. It may not be possible, or even desirable, may judge him to be ‘among the most exuberant, to seek a perspective on the poem ‘uncontaminated generous, and creative literary imaginations in our by late twentieth century interests and beliefs’, as language’. Stewart 1997:87 urges, and I would only ask with As I write in a year that marks a half century of my him that we need to be aware of ‘historical voices engagement with the poem, I have come to realize other than our own, including Spenser’s’. As far as the profound truth of Wallace Stevens’s claim that possible criticism should serve also as a transparent ‘Anyone who has read a long poem day after day glass through which to see what Spenser intended as, for example, The Faerie Queene, knows how the and what he accomplished in ‘Fashioning XII Morall poem comes to possess the reader and how it nat-vertues’. Of course, we cannot assume that under-uralizes him in its own imagination and liberates standing his intention as it is fulfilled in the poem him there’ (1951:50). It has been so for me though, necessarily provides a sufficient reading, but it may I also recognize, not for many critics today whose provide a focus for understanding it. Contemporary engagement with the poem I respect. With Mon-psychological interpretation of the poem’s characters trose 1996:121–22, I am aware that ‘the cultural reads the poem out of focus, and the commendable politics that are currently ascendant within the aca-effort to see the poem embedded in its immediate demic discipline of literary studies call forth condem-sociopolitical context, chiefly Spenser’s relation to nations of Spenser for his racist / misogynist / elitist the Queen, fails to allow that he wrote it ‘to liue with." In Spenser: The Faerie Queene, 40. Routledge, 2014. http://dx.doi.org/10.4324/9781315834696-38.

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