Academic literature on the topic '1920-2017 Criticism and interpretation'
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Journal articles on the topic "1920-2017 Criticism and interpretation"
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Santosa, Puji. "KONDISI KRITIK SASTRA INDONESIA SEABAD H.B. JASSIN (Indonesia Literary Criticism in A Century of H. B. Jassin)." Kandai 13, no. 1 (August 24, 2017): 91. http://dx.doi.org/10.26499/jk.v13i1.94.
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This study aims to reveal and to describe the condition of Indonesian literary criticismin a century of H.B. Jassin (1917-2017). The research problem is how the condition of Indonesian literary criticism in a century of H.B. Jassin? The method used is the historical and descriptive method. The research proves that the condition of Indonesian literary criticism in a century of H.B. Jassin progressing quite encouraging on four genres of literary criticism, namely: (1)general literary criticism or practical literary criticism developed in printed media and electronic, (2) history of academic literary that thrives in academic research focusing on philology, (3) literature appreciation and interpretation that developes in the academic and scientific journal of literature, and (4) literary theory that developes in academic world as a basic reference for writing literature scientific papers. From these results it can be concluded that the condition of Indonesian literary criticism in a century of H.B. Jassin has never been stagnant or vacuum.
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Nordin, Andreas, and Ninni Wahlström. "Transnational policy discourses on ‘teacher quality’: An educational connoisseurship and criticism approach." Policy Futures in Education 17, no. 3 (January 9, 2019): 438–54. http://dx.doi.org/10.1177/1478210318819200.
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In this article, we analyse key policy documents on teacher quality produced by the OECD and the EU during the period 2005 to 2017 using an educational connoisseurship and criticism approach. The purpose of this article is to explore how Eisner’s concepts of educational connoisseurship and educational criticism can be understood and used to analyse educational policy, especially how teacher quality is discursively constructed in transnational authoritative texts on education policy. Eisner’s three aspects of criticism, description, interpretation and evaluation can be utilised in a differentiated critical approach to the analysis of transnational policy documents on education. While the critical descriptive discourse can be viewed as ‘identifying a simple relationship’ between social development and educational needs, the interpretative critical discourse can be regarded as ‘recognising the complexity’ of teachers’ tasks in changing societies and the critical evaluative discourse as ‘recognising and problematising contradictory interests’ that affect teachers’ work. We argue that the philosophical concepts of connoisseurship and criticism contribute to policy research by demonstrating that a multifaceted concept of teacher quality is needed to capture the complex nature of education.
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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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Wendland, Michał. "What is the “reflexive historicizing of communication”? A philosophical approach." Lingua Posnaniensis 59, no. 1 (June 1, 2017): 95–108. http://dx.doi.org/10.1515/linpo-2017-0008.
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Abstract The purpose of this article is to interpret the term the “reflexive historicizing of communication” used by the editors of the Handbook of Communication History published in 2013. In the preface and in the first chapter, the editors introduce the above-mentioned concept, postulating that it is associated with the most important among several possible trends in communication history. Reflexive historicizing, as an important and innovative methodological directive, however, is described therein rather laconically. This article contains comments on both historicism and reflexivity. Their genesis is presented as well as their most important interpretations and possible applications in the social sciences. Particular attention is paid to the concept of historicism, since it is charged with numerous controversies and polemics (Karl Popper’s famous criticism). The main purpose of this article is to explain the meaning of historicism (and reflexivity) so as to avoid confusion and over-interpretation in the application of these concepts within communication history.
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Bastaman, Weny Widyawati, and Siti Sri Suhartini. "TRANSFORMASI KESALIHAN SOSIAL ZAKAT, INFAQ, DAN SHADAQAH MASYARAKAT RANGKASBITUNG PADA TAHUN 1978-2017." Jurnal Artefak 6, no. 2 (September 7, 2019): 99. http://dx.doi.org/10.25157/ja.v6i2.2663.
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Penelitian ini bertujuan untuk memperoleh gambaran tentang adat istiadat yang ada pada masyarakat Dusun Kuta, dan bagaimana peran keluarga dalam mensosialisasikan kepada anggota keluarganya. Metode penelitian ini adalah metode kualitatif serta penemuan kuantitatif yang mendukung. Selanjutnya data diinterpretasi, sehingga menghasilkan data deskriptif berupa kata-kata tertulis dari orang dan perilaku yang dapat diamati. Sedangkan teknik pengumpulan data menggunakan observasi dan wawancara. Hasil penelitian menunjukan dalam proses sosialisasi adat istiadat, keluarga memegang peranan yang amat penting, karena melalaui keluarga inilah anak-anak mengalami proses sosialisasi yang pertama dan mendasari semua proses sosialisasi lebih lanjut. Ibu, bapak mengajari anak-anaknya tentang sikap dan perilaku yang baik menurut adat dan harus dilakukan serta sikap dan perilaku yang tidak boleh dilakukan karena bertentangan dengan adat. Adat istiadat Dusun Kuta yang disosialisasikan itu, antara lain: perilaku dalam hidupan sehari-hari, pekerjaan dalam mencari/mendapatkan nafkah, bentuk dan bahan yang digunakan dalam pembuatan rumah, syarat dan tatacara penentuan kuncen, larangan-larangan dan keharusan-keharusan yang berkaitan dengan keberadaan tempat-tempat yang dianggap keramat.Zakat, infaq and sadaqah have been known and carried out by Muslims for a long time. Along with the times in managing zakat, infaq and sadaqah experienced changes and developments. The method used in this study is a historical method consisting of topic selection, heuristics, namely; data collection consisting of primary data sources and secondary data sources, verification, namely; historical criticism or the validity of the source by means of internal criticism and external criticism, interpretation of data namely; interpretation of data that has been verified, and historiography, namely; write down the results of the study. The results of this study indicate that in the management of zakat, infaq, and sadaqah there are changes and developments. In the history of its development starting from traditional and now there are institutions that manage zakat, infaq, and sadaqah in a professional manner, in terms of management, which are initially consumptive but now more productive, and changes in social values from the implementation of zakat, infaq and shadaqah (muzakki) can better know the condition of the mustahik (zakat recipients). Whereas institutionally tend to only carry out obligations.
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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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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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Szewczyk-Haake, Katarzyna. "Olwid, Or the Beginnings of Polish Postcolonialism." Ruch Literacki 57, no. 4 (September 1, 2016): 446–60. http://dx.doi.org/10.1515/ruch-2017-0074.
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Summary This article presents a postcolonial interpretation of Olwid’s (Witold Hulewicz’s) book of poems Flame in Hand (Płomień w garści, 1921). His poetic ‘fragments’ describing the experience of the World War are remarkably similar to the poetry of German expressionism. Whereas previous critics treated this similarity as a proof of the derivative, unoriginal nature of the Poznań expressionism, this article claims that Olwid’s was a deliberate attempt to start a rapprochement between the Polish and the German culture. After decades of colonial dependence the breakthrough of 1918 the two cultures had a chance to resume a dialogue of equals with the expressionist poetics as a new footing. Hulewicz tones down the difference between the hegemon and the victim in the spirit of the expressionistic search for common humanity. To that end he also develops a new interpretation of the Polish Romantic tradition. His endeavours mark him out as a precursor of postcolonial criticism, and more specifically that type of postcolonialism which uses the emancipatory strategy as a means to the creation of a ‘truly free man’. That high goal is pursued not because of a commitment to cosmopolitanism but in the name of absolute human values.
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Futljaev, Nikita S., and Dmitry N. Zhatkin. "Russian Fate of the Poem by Robert Burns «Who is that at my bower-door?..»." Nauchnyi dialog, no. 7 (July 30, 2020): 284–98. http://dx.doi.org/10.24224/2227-1295-2020-7-284-298.
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The Russian translation reception of Robert Burns's poem “Who is that at my bower-door?..” (1783) is for the first time considered in the article. It is emphasized that the comic work did not attract the attention of Russian translators until 1862, when the unsatisfactory interpretation of V. D. Kostomarov, deprived of the emotionality of the English original, came out. The results of the analysis of translations of the poem created by M. N. Shelgunov (1879), T. L. Shchepkina-Kupernik (publ. 1936), S. Ya. Marshak (1939), S. Sapozhnikov (publ. 2014), E. D. Feldman (2017), A. V. Krotkov (publ. 2018) are presented. The perception of Burns’ work in Russian literary criticism and literary criticism is comprehended. In particular, numerous reviews and studies are analyzed (A. T. Twardowski, K. I. Chukovsky, E. G. Etkind, T. B. Liokumovich, R. Ya. Wright-Kovaleva, A. Bobyleva), caused by S. Ya. Marshak translation, who, despite all his liberties, preserved the atmosphere of a lively conversation between two people, and emphasized their intonational, emotional and gender differences. It is noted that, having entered into a polemic with S. Ya. Marshak, who made Burns unnecessarily classic and stylistically “smooth”, modern translators created interpretations in the spirit of courteous poetry, largely devoid of the aesthetics of the original, its unique melody.
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Ratna, Ratna, and La Ode Ali Basri, Basrin Melamba. "ADAT PERKAWINAN SUKU BAJO DI DESA SAINOA KECAMATAN BUNGKU SELATAN KABUPATEN MOROWALI: 1976-2017." Journal Idea of History 2, no. 2 (December 26, 2019): 30–42. http://dx.doi.org/10.33772/history.v2i2.862.
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This study aims to describe the Bajo tribal marriages at Sainoa Village, Bungku Selatan District, Morowali Regency: 1976-2017. The method used in this study was the historical method refers to the following steps: (1) Selection of topics, (2) Collection of sources, (3) Verification (historical criticism and validity of sources), (4) Interpretation (interpretation: analysis and synthesis), and (5) Historiography (writing). The results showed that: 1) The process of implementing Bajo tribal marriages at Sainoa Village was carried out through several stages namely; a) mate selection, b) assessment (tilau talang). c) hosting (Massuro). d) submission of marriage costs (nyoroh), e) pabarraang (girlfriend's night), f) marriage contract (panic). Marriage contract is held in lammeh (bridal house). 2) Customary equipment in the process of marriage, namely betel leaf, areca nut, lime, dalah kuneh, candles, flags and oje '. 3) The meaning contained in the marriage customs appears in the traditional equipment that accompanies the implementation of the marriage stages. They were consisted of betel leaf, areca nut, lime, dalah yellow, wax, flag and oje ’. All of these objects have meaning so that the bride and groom's life journey always gets blessings from the Almighty. 4) Changes in customary marriage appeared in the process and equipment that follows along with the times.
Keyword: Bajo, Marriage, Custom, Symbolic Meaning
Dissertations / Theses on the topic "1920-2017 Criticism and interpretation"
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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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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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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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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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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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Zoccali, Christopher. "Whom God has called : the relationship of church and Israel in Pauline interpretation, 1920 to the present." Thesis, University of Wales Trinity Saint David, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683375.
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Gutierrez, III Jose. "Investigating Kracauerian cinematic realism through film practice and criticism: Life-world series (2017) and selected films of Lino Brocka." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/525.
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This dissertation is an investigation on the realist film theory of Siegfried Kracauer. It was principally conducted through film practice as exemplified by the ten short films that compose the omnibus film project, Life-world Series (dir. Joni Gutierrez, 2017, 118 minutes). To supplement the study's examination of Kracauerian cinematic realism (KCR), film criticism of selected works of Lino Brocka was also accomplished. The methodology involved three components: (1) research-based production of Life-world Series; (2) textual analyses of the said film collection and selected Brocka films; and (3) meta-analysis of the scholarly criticism on the Brocka film. This dissertation is the first to use film-making practice which was a part of the research project and devised to investigate KCR, which avows that the cinematic experience of physical reality as an object of contemplation fosters an intuitive understanding of the Lebenswelt (life-world) and, in turn, brings about the redemptive potential of film vis-à-vis the modern condition. The emergent design of Life-world Series opened the study to a wide range of possibilities that it could not have encountered if it limited itself to applying a particular theory as a framework in doing film criticism of pre-existing works. This project - through both its film practice and criticism components - is an interweaving of key notions from Husserlian phenomenology and the seven KCR tropes identified in the study, namely: (1) the quotidian; (2) the transient; (3) the refuse; (4) the fortuitous; (5) the indeterminate; (6) the flow of life; and (7) the spiritual life itself. The phenomenological engagement of this investigation has provided opportunities for expanding the inventory of KCR tropes, to conceivably include characteristics of the Lebenswelt which form part of the project's overall findings; that is, the life-world as: (1) expansive; (2) multi-layered; (3) flowing; (4) in the process of becoming; (5) resonantly intersubjective; (6) a thing of beauty; (7) relating to essences; (8) cyclical; (9) transcendent; (10) meaning-laden; (11) fragmented; and (12) malleable. The dissertation explicates how its phenomenological approach in inspecting KCR led to the construction of a prospective model of cinematic realism - the integrated quadrant model of Kracauerian cinematic realism (IQMKCR) - and finally, determines the implications and prospects of using film practice as an instrument in interrogating KCR.
Books on the topic "1920-2017 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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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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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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Brzykcy, Jolanta. Poezja emigracyjna Iwana Bunina: 1920-1953. Toruń: Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika, 2009.
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Notorious voices: Feminist biblical interpretation, 1500-1920. New York: Continuum, 1996.
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(Portugal), Biblioteca Nacional, ed. Alberto Ferreira, 1920-2000: Escrita e intervenção. Lisboa: Biblioteca Nacional de Portugal, 2010.
Find full textBook chapters on the topic "1920-2017 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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Silk, Alex. "Normativity in Language and Law." In Dimensions of Normativity, 287–314. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190640408.003.0013.
Full textAbstract:
This chapter develops an account of the meaning and use of various types of legal claims, and uses this account to inform debates about the nature and normativity of law. The account draws on a general framework for implementing a contextualist theory, called Discourse Contextualism (Silk 2015a, 2016, 2017). The aim of Discourse Contextualism is to derive the apparent normativity of claims of law from a particular contextualist interpretation of a standard semantics for modals, along with general principles of interpretation and conversation. Though the semantics is descriptivist, it avoids Dworkin’s influential criticism of so-called “semantic theories of law,” and elucidates the nature of “theoretical disagreements” about the criteria of legal validity. The account sheds light on the social, interpersonal function of normative uses of language in legal discourse. It also gives precise expression to Hart’s and Raz’s intuitive distinctions among types of legal claims (internal/external, committed/detached). The proposed semantics and pragmatics of legal claims provides a fruitful framework for further theorizing about the nature and metaphysics of law, the relation between law and morality, and the apparent practical character of legal language and judgment. Discourse Contextualism provides a solid linguistic basis for a broader account of legal discourse and practice.
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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.
Full textAbstract:
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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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.
Full textAbstract:
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.