Relevant bibliographies by topics / 1925-1970 Criticism and interpretation

Academic literature on the topic '1925-1970 Criticism and interpretation'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "1925-1970 Criticism and interpretation"

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Salam, Abdul. "Samaun Bakri: Nationalist Portrait in 1925-1948." Yupa: Historical Studies Journal 2, no. 1 (May 31, 2018): 44–54. http://dx.doi.org/10.30872/yupa.v2i1.115.

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Samaun Bakri is one of many figures from Nagari Kurai Taji Pariaman West Sumatra, which enliven the national political stage. His movement in the Dutch Colonial period, began when he attended in Sumatra Thawalib Padang Panjang. The Kuminih movement, fronted by Communist propagandists, has changed its paradigm of thinking from moderate to radical. Sometimes Samaun is often the target of arrest with allegations of infidelity. This paper is compiled based on historical method, consist of; heuristics, criticism, interpretation, and historiography. The world of Islamic movement and modernization has indeed influenced the way of Samaun thinking. Several times, he was involved in the press, ranging from Persamaan, Sasaran, Penabur, and often wrote harsh criticisms of the Dutch government. After the Silungkang incident, he crossed over to the Partai Nasional Indonesia (PNI). During the Japanese occupation, he was involved in the management of PUTERA and Jawa Hokokai. His political career post-independence immediately dashed, when he served as Deputy Governor of West Java in 1946, KNIP members represent West Java, and became Deputy Resident of Banten in 1946-1948.
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Kholis Sofiah, Asri Nur, and Ajid Hakim. "Sejarah PLTA Lamajan Pangalengan Sebagai Situs Peninggalan Belanda di Kabupaten Bandung Tahun 1925." Historia Madania: Jurnal Ilmu Sejarah 4, no. 1 (July 30, 2020): 129–46. http://dx.doi.org/10.15575/hm.v4i1.9192.

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This study aims to determine how the history of the Lamajan Hydroelectric Power in 1925, both in terms of the geographical, demographic conditions of Pangalengan and also the components that still exist in Lamajan. Lamajan is a Dutch hydroelectric power plant (PLTA) which was built in 1924 in Pangalengan, Bandung and has been operating since 1925. Lamajan has three generator units, the engine used by Lamajan supplied from the Dutch factories Heemaf and Smit Slikkerveer, initiated by V.H Willem Smith & Co. and R.W.H. Hofstede Crull. The method used in this study is a qualitative method, namely by collecting data through literature and documentation. This method is carried out through four stages namely, heuristics, criticism, interpretation, and historiography. The results of this study show this hydroelectric power plant was built during the Dutch colonial era in 1920-1924 and operated in 1925. This power plant was initially built by a Dutch engineer named Willem Beyerinc K. for the electricity needs of sugar factories but over time was used to illuminate the area of Bandung and its surroundings, this power plant utilizes the flow of water from the Cisarua and Cisangkuy rivers.
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Rahmah, Rahmah, Syahruddin Siregar, and Rina Devianty. "Sejarah Musik Melayu di Kota Medan, 1970-2000." Warisan: Journal of History and Cultural Heritage 2, no. 1 (June 10, 2021): 8–15. http://dx.doi.org/10.34007/warisan.v2i1.681.

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This article discusses the influence of foreign cultures on the existence of Malay music in Medan City in the period 1970-2000. The arrival of various foreign communities in Medan City also brings their original culture. The acculturation of foreign communities with ethnic Malays produces a beautiful blend of cultures. This study uses the historical method in four writing steps, namely; heuristics, verification or criticism, interpretation, and historiography, with a cultural approach. Ethnic Malay as an egalitarian society can accept foreign culture with open arms. The interaction of the Malay people for hundreds with foreign cultures has brought significant changes to their culture. This can be seen from the various musical genres that influence Malay music. In addition, the use of musical instruments from various foreign cultures also enriches the treasures of Malay music. Even though it was influenced a lot from foreign cultures, Malay music still survives and exists today.
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Wardani, Dalila Kusuma, and Didin Saripudin. "Potret Keberadaan Kesenian Wayang Kulit di Bekasi: Wayang Kulit Akulturasi (Periode Tahun 1970-2015)." FACTUM: Jurnal Sejarah dan Pendidikan Sejarah 10, no. 2 (October 30, 2021): 207–14. http://dx.doi.org/10.17509/factum.v10i2.36780.

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This article aims to describe the development of wayang kulit in Bekasi in 1970-2015. Broadly speaking, the main problem studied in this article is about "How is the existence of wayang kulit in Bekasi in the midst of the rapid pace of globalization in 1970-2015?". The author uses historical methods consisting of four steps: heuristics, source criticism, interpretation, and historiography. Based on the results of research in its development, wayang kulit in Bekasi experienced dynamics in the span of 1970-2015. In the 1970s this art is in great demand by the public, it can be seen from the intensity of the performance is very dense. But entering 2015 the intensity of wayang kulit performances in Bekasi is decreasing. This indicates that the Betawi puppet was demoted by Betawi ethnic community it self and the society in general. Globalization is one of the factors that cause a decrease in public interest in traditional arts.
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Lemarchand, René. "Response to Jean-Pierre Chretien." Issue: A Journal of Opinion 19, no. 1 (1990): 41. http://dx.doi.org/10.1017/s0047160700501231.

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My apologies to Mr. Chrétien and to your readers for “developing some simplistic formulas on Burundi” in my quest for “media success.” No such simplistic formulas enter his criticism of my Congressional testimony. On the one hand, I am taken to task for not conceding that my interpretation of the Hutu-Tutsi conflict as a recent phenomenon is the product of Chrétien’s “patient research work” over the last quarter of a century; on the other hand, “some very similar analysis” had appeared in my “excellent work of 1970,” which came out long before Mr. Chrétien embarked on his patient research! Try to figure that one out if you can.
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Ismarini, Ani. "KEDUDUKAN ELIT PRIBUMI DALAM PEMERINTAHAN DI JAWA BARAT (1925-1942)." Patanjala : Jurnal Penelitian Sejarah dan Budaya 6, no. 2 (June 1, 2014): 179. http://dx.doi.org/10.30959/patanjala.v6i2.193.

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AbstrakTerbentuknya Province West-Java lebih karena munculnya tuntutan dari masyarakat Hindia Belanda saat itu yang memang sudah mengalami dinamisasi, perkembangan, dan kemajuan dalam berbagai aspek kehidupan. Tuntutan yang mereka ajukan adalah otonomi yang lebih besar yang berkait aspek-aspek politik. Di samping itu, penduduk pun menuntut makin meningkatnya pelayanan pemerintah dalam berbagai aspek kehidupan yang mereka butuhkan. Guna menjawab tuntutan itu dibentuklah pemerintahan Province West-Java. Dalam rangka menjalankan roda pemerintahan diangkatlah sejumlah pejabat yang kebanyakan berasal dari penduduk bumi putera. Momentum ini merupakan kesempatan awal bagi elit pribumi terlibat dalam birokrasi pemerintahan modern. Selanjutnya pengalaman ini menjadi bekal mereka dalam mengelola pemerintahan pada masa-masa berikutnya. Penelitian ini menggunakan metode sejarah yang meliputi empat tahapan kerja: heuristik, kritik, interpretasi, dan historiografi. AbstractWest-Java Province is formed because emerging demands of Nederland-Indie society at that time who had dynamic, growth, and progress in various aspects of life. Their conspicuous demand was greater autonomy related to political aspects. Besides, the people also demanded better government service in many aspects of life. Therefore, West-Java Province government formed. To run the government, some officials who mostly come from native citizen appointed. This momentum is early oppurtunity for the indigenous elite to get involved in the bureaucracy of modern government. In addition, this experience into their stock in managing the government in the sequent periods. This research uses historical method includes four phases, that are heuristic, criticism, interpretation, and historiography.
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Emillia, Emillia, and Irhas Fansuri Mursal. "Sejarah Gaya Berbusana Perempuan Kota Jambi Tahun 1900 – 1970." Jurnal Siginjai 1, no. 2 (December 24, 2021): 45–64. http://dx.doi.org/10.22437/js.v1i2.16354.

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This research is about the history of women's fashion style in Jambi in the 1900s - 1970s. Aims to add to the repertoire of writing about the history of gender and historical fashion in Jambi. This study describes how women's fashion style travels in Jambi City, as well as the influence of the entry of modernity and the impact it has on women's clothing styles in Jambi City. This research uses the historical method which has 4 stages, namely heuristics, source criticism, interpretation, and historiography. Kebaya clothing is a clothing that is often used in the daily life of women in the city of Jambi. But along with the times and culture, it began to shift with the presence of clothing from western countries such as dresses, mini skirts and midi skirts that showed the feminine side and also became a trend, especially for urban teenagers. The 1970s was a decade that was quite influential in the fashion sector in Indonesia, because this yearfashion designers began to appear and in Indonesia experienced freedom in dressing. For Jambi, this year is the year Jambi City women started wearing pants as their daily clothing. However, it does not make the existence of the kebaya and clothes brackets disappear.
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Hanifah, Muna Roidatul. "PERJUANGAN MENCARI RUANG: Jedoran, Media Islamisasi, Dan Peminggiran Kesenian Islam Tulungagung 1970-1982." Al-Isnad: Journal of Islamic Civilization History and Humanities 2, no. 1 (January 24, 2022): 49–64. http://dx.doi.org/10.22515/isnad.v2i1.4906.

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This study is a concrete effort to trace the dynamics of Jedoran Tulungagung 1970-1982. Thistemporal term became the starting point for the paradigm shift of the Tulungagung people in interpretingIslamic art. The emergence of the 'Popular' prayer reduced the public's interest in Jedoran as anacculturative (Islamic and Javanese) shalawat art which has contributed to the history of Islamizationin Tulungagung. The study used historical research methodologies, namely: heuristics, source criticism,interpretation, and historiography. The results of this study indicate that there is one major narrativethat masterminds the dim existence of Jedoran from the Tulungagung art scene. This factor was the entryof the “Popular Islam” paradigm, which at that time was rapidly developing through radio, televisionand mobile phones in almost all parts of Indonesia. This has gradually resulted in the decline in people'sappetite for acculturative Islamic arts such as Jedoran. This factor is supported by two other situations,namely the cultural atmosphere in Tulungagung in general after 1965 and the difficulty in studyingJedoran which makes regeneration difficult.
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Aqimuddin, Jafar Tahmid, Fajriudin Fajriudin, and Dina Marliana. "Pemikiran Politik K.H. Moenawar Chalil (1908-1961)." Historia Madania: Jurnal Ilmu Sejarah 5, no. 2 (December 30, 2021): 193–209. http://dx.doi.org/10.15575/hm.v5i2.15324.

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K.H. Moenawar Chalil is an important figure who is almost forgotten in Indonesian history. He is one of the Indonesian scholars who existed in his time. He has several famous works that he has written since becoming a member of the Sarekat Islam in 1925 at the age of 17 years. Some of his works have been published in articles, newspapers, and the biggest one is in a book that is until now widely known, The Complete Date of the Prophet Muhammad. It turned out that he not only published books on the history of the Prophet Muhammad, but other books such as religious themes, and also politics. This research aims to reconstruct the political thought of K.H. Meonawar Chalil in Indonesia which is contained in his work, both from articles, newspapers and books. The study used four stages, namely Heuritics, Criticism, Interpretation and Historiography.
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Samsudin, Samsudin, and Nina Herlina Lubis. "SEJARAH MUNCULNYA PEMIKIRAN ISLAM LIBERAL DI INDONESIA 1970-2015." Patanjala : Jurnal Penelitian Sejarah dan Budaya 11, no. 3 (September 28, 2019): 483. http://dx.doi.org/10.30959/patanjala.v11i3.522.

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Kemajuan yang dicapai oleh negara Barat dalam bidang ilmu pengetahuan, teknologi, dan ekonomi, berakar pada trilogi liberalisme, pluralisme, dan sekularisme. Atas dasar itulah, beberapa tokoh Islam Indonesia ingin memajukan umatnya dengan trilogi tersebut. Dalam perjalanannya, tokoh Islam seperti Nurcholish Madjid dan Ulil Abshar menuai kritik dari Rasjidi dan Atiyan Ali. Puncaknya adalah ketika MUI mengeluarkan fatwa mengharamkan Islam liberal. Bagaimana gambaran sejarah masuk Islam liberal di Indonesia? Mengapa terjadi polemik Islam liberal di Indonesia? Untuk menjawab pertanyaan tersebut, metode yang digunakan adalah metode sejarah, meliputi heuristik, kritik, interpretasi, dan historiografi. Berdasarkan hasil penelitian, sejarah Islam liberal di Indonesia terbagi ke dalam empat tahap, yaitu: Tahap awal ketika masih menyatu dengan pemikiran neo-modernisme. Kedua, pembentukan enam paradigma Islam liberal. Ketiga adanya kritik dan evaluasi pemikiran Islam liberal. Kemudian sebab terjadinya polemk pemikiran Islam liberal disebabkan oleh perbedaan paradigma berfikir dan metodologi memahami ajaran Islam dalam melihat realitas yang terjadi di masyarakat pada masa kontemporer. The progress achieved by Western countries in the fields of science, technology and economics is rooted in liberalism, pluralism and secularism. For this reason, some Indonesian Muslim intellectuals want to reform their people accordingly. However, in working with these modern ideas, the polemics arose as those Muslim scholars such as Nurcholish Madjid and Ulil Abshar were criticized by Rasyidi and Atiyan Ali. This caused the MUI to issued a fatwa forbidding Liberal Islam. This study addressed two questions: How did liberal Islam come to Indonesia? Why did liberal Islam polemic occur in Indonesia? The method employed in this study is historical method which is comprised of heuristics, criticism or analysis, interpretation, and historiography. The result of the study shows that the history of liberal Islam in Indonesia was developed into four stages. First, when the thought of liberal Islam was still integrated with neo-modernism. Second, the establishment of six liberal Islam paradigms. Third, the emergence of criticism and evaluation toward it. Fourth, the polemic of liberal Islamic thought was caused by different paradigms and methodology in understanding the teaching of Islam that is compatible with the needs of contemporary society.
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Dissertations / Theses on the topic "1925-1970 Criticism and interpretation"

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Ariturk, Nur Nilgun. "An Iris in the sun : perception-reception-perception in Iris Murdoch's novels of the good." Thesis, University of Stirling, 1997. http://hdl.handle.net/1893/1970.

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Murdoch considers herself a 'Christian fellow-traveller', 'a kind of Platonist' and a 'sort of Buddhist', all of which summarise her spirit of writing very well. Iris Murdoch places a very serious obligation on the artist to present reality to his/her observers/readers. In almost all her philosophical articles, books, and interviews, she expresses with great emphasis the task of art, especially prose literature, as a form of education for moral development. In that sense, we can call her a moralist and a 'philosophical' novelist. With her 'Novels of the Good' Iris Murdoch is inviting the reader for a 'journey into the iris', saying: 'I am the Iris; come into me and see. ' The message of her novels is not of 'philosophy' but of everyday moral reality. In other words, reading Murdochian novels is reading morals. This is the main argument in this study. The moral education (preception) of the reader by Iris Murdoch is to 'realise' (receive) the 'perception' of the other--hence the title of the thesis--through her 'novels of character'. For Murdoch, appreciating a work of art is no different than knowing another person(s). The good artist and the good person have, in that respect, the same moral discipline. And this disciplined attention brings with it the true perception and clarity and morally right behaviour. The reader has to attend with moral responsibility to the work of art because it is through literature that s/he can enlarge his/her vision and inner space. The thesis is divided into two main sections: the moral precepts and their exemplification as concrete everyday examples in her novels themselves. The Introduction provides the 'philosophical' and theoretical background for Murdoch's 'Novels of the Good'. Included here is a dictionary of some of the major 'concepts', or rather 'precepts' that Murdoch uses both in her novels and her philosophical articles and books, in order to train her reader to gain ethical vision. Also included in this chapter is a section on reading and readers through structuralist and reader-oriented theories in contrast to or comparison with Murdoch's conception/perception of the 'reader' in her novels. Chapter I switches on the 'machine', Murdoch's &camera-eye' on the egoistic human 'psyche', which Murdoch likens to a machine. Chapter 11 discusses this 'machine' in close-up, that is through first-person narrative novels. Chapter 111, which includes novels that have philosophers at the centre, throws a 'light' on philosophy and everyday reality. Chapter IV explores the importance of death in everyday life. However, although the chapters are divided under different titles, the novels discussed in each chapter can be related to the rest as Murdoch discusses the same precepts recurrently in different contexts which gives her novels the 'serial' characteristic. Each novel is part of the reader's pilgrimage to the Good to understand his/her limitations in the face of the contingent reality represented in her fiction through free individual characters. To enter the Murdochland is to enter the cycle of 'arriving at not arriving'.
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Vrba, Marya. "The literary dream in German Central Europe, 1900-1925 : a selective study of the writings of Kafka, Kubin, Meyrink, Musil and Schnitzler." Thesis, Swansea University, 2011. https://cronfa.swan.ac.uk/Record/cronfa42396.

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This thesis examines the literary dream in selected works by Kafka, Kubin, Meyrink, Musil and Schnitzler, with a particular focus on the redefinition of subjectivity through dreamlife. The introductory chapter contextualises these case studies in the broader field of oneirocriticism, emphasising the dream's ancient role as fixtional template and its specific significance in the destabilised environment of German Central Europe during the early twentieth century. Alfred Kubin's Die andere Seite (1909), which uses the 'other side' as metaphor for both oneiric and artistic experience, reveals the inherent dualism of the literary dream and its close relationship with creativity. In Robert Musil's Die Verwirrungen des Zdglings Tdrlefi (1906), the protagonist serves as the model for a new type of self-determining subject who draws on the knowledge of dreams and irrationality. Franz Kafka's texts reveal techniques for integrating the dream into fictional worlds that are already dreamlike through the prevalence of (literalised) metaphor and free association. Gustav Meyrink, in Der Golem (1915), shares Kafka's interest in concretised metaphor, but also explores the dream's associations with occult practices, used as a defence against the threatening claims of science. Finally, Arthur Schnitzler's literary dreams offer a direct confrontation with psychoanalysis and a dismantling of nineteenth-century ideals of gender and bourgeois love. Overall, it is argued that the literary dreams by these authors hold varied responses to fragmentation of the Ich in the face of psychological 'vivisection', theories of relativity, and the collapse of old social orders. The dream, as a nightly 'psychosis', crystallised the pervasive fears of self-loss during this period; however, in its perennial role as micro-narrative, it also provided a site for re-construction of the subject. The incorporation of dreams in fictional lives served as a metonymical guide for the integration of un- and subconscious experience overall.
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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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Harano, Mami. "Anatomy of Mishima's Most Successful Play Rokumeikan." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/387.

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Mishima Yukio premiered the play Rokumeikan in 1956 and published it in 1957. For more than half a century, this play has been praised as one of the finest Japanese plays in the Post-War period. Rokumeikan is a multi-act tragic melodrama, set in 1886 (Meiji Period) in the Rokumeikan building. The play intertwines complex political cabals, intense loves and hatreds, and multiple deceptions embodying the conflict between political power and love. This essay explores the reasons why Rokumeikan has maintained its popularity over its fifty year long performance history and examines the critical reception of the play. My analysis of the Rokumeikan text is based on conflicting notions of truth and power. According to the French philosopher, Michel Foucault, socio-political power creates truth. This "power reality" is embodied in the play by Prime Minister Kageyama, and its authority is challenged by his wife, Asako, who has an entirely different conception of truth. This interplay of conflicting values has helped to maintain the popularity and stature of the play for half a century.
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Millard, Michèle. "An analysis of the critical discourse on the work of Eva Hesse /." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61138.

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This thesis is an analytical study of the various critical approaches taken to the work of Eva Hesse and their underlying methodologies and theoretical assumptions. Its purpose is to determine in a general way how and why the nature of criticism has changed from positions strongly influenced by Modernism as defined by Clement Greenberg to those that involved a separation of criticism from consideration of artworks as individual phenomena.
For the most part, Chapter One concerns critics' Modernist analyses of Hesse's relationship to Minimalism and their progression towards a criticism based on non-formalist, non-hierarchical theories of style. There is also a short discussion on the linkage created between Hesse's art and specific psychological traumas in her life. Included as well is an explanation of the changing conception of originality and the critic's dilemma in confronting private content through the strictures of public dialogue.
Chapter Two investigates critical discussions of experience, how art was apprehended and how meaning was transmitted.
Chapter III involves a feminist debate on the issues of gender. The content of Hesse's work was analyzed in psycho-biographical terms and within the framework of her identity as a female artist in western culture.
And finally, the thesis concludes by pointing out the evolution of criticism into a distinct, independent discipline whereby the critic articulates the theoretical contexts in which the artwork exists, but then extends in into a broader cultural setting where the critic analyzes the significance of such positions taken, its relationship to the past and future implications.
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Ocaña, Karen Isabel. "Synthetic authenticity : the work of Angela Carter, Gilles Deleuze and Félix Guattari." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26748.

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This thesis constitutes an investigation into contemporary writing--both fictional and philosophical. More specifically, it is a comparative analysis of the work of British novelist Angela Carter, and French philosophers Gilles Deleuze and Felix Guattari, in the light of the concept of synthetic authenticity. It is divided into three chapters, "Becomings", "Events", and "Machines", and each chapter presents the work of both Carter and Deleuze and Guattari, respectively, in light of one of these topics. Chapter Two, however, focuses closely on Angela Carter's first novel, Shadow Dance, as it relates to the concept 'event'. And Chapter Three focuses on Carter's novel The Infernal Desire Machines of Doctor Hoffman, as it relates to and differs from the schizoanalytic notion of desiring machines.
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Berry, Robert James. "Conrad and Dostoevsky : an unsuspected brotherhood." Thesis, University of Stirling, 1993. http://hdl.handle.net/1893/2015.

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This thesis attempts a comparative study of Conrad and Dostoevsky. In doing so, it proposes a significant relationship between the ideological, political and literary worlds of both authors. The work is undertaken in eight chapters. Chapter One explores Conrad and Dostoevsky's respective national and cultural identities. It reflects on Conrad's recorded reactions to Dostoevsky and his work, and speculates on the latter's likely response to Conrad. Chapter Two challenges established critical formulae that suggest Dostoevsky is a purely 'Dionysian' writer. The view that Conrad is a consummate 'Apollonian' artist is similarly brought into question. Chapter Three considers Conrad and Dostoevsky as major literary innovators. To support my argument, Bakhtin's critical concepts of 'polyphony' and 'monology' are introduced, and applied in a Dostoevskyan and Conradian context. Especially highlighted is my debate on Conrad's 'polyphonic' narrative technique in Lord Jim (1900). The notable fusion of disparate literary genres in Conrad and Dostoevsky's novels is explored in Chapter Four. Elements of 'adventure', 'thriller', 'romance', and 'detective' fiction are identified in each novelist's world. My argument, however, restricts itself to an extensive analysis of the surprising importance of the 'Gothic' elements in both writers' worlds. Chapters Five and Six, concentrate on Conrad and Dostoevsky's profound insights into the fundamental character of the human personality. Chapter Five considers their parallel interpretations of mankind's quintessentially materialist nature. Chapter Six looks at their strikingly similar visions of man's violent and carnal identity, and his primary urge to dominate other weaker individuals. Chapters Seven and Eight consider two central themes in Conrad and Dostoevsky's fiction, that of anarchist politics and nihilism respectively. Their political and ideological responses to these issues are investigated in some detail, and significant interpretive parallels established. Finally, the conclusion undertakes to once again assure the reader of the surprising and unsuspected bonds that exist between these two seemingly alien writers.
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Bourassa, Alan. "Calvino's desiring machines : literature and the non-human in Deleuze and Calvino." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56803.

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This thesis stages a meeting between the work of French philosopher Gilles Deleuze and the short fiction of Italian writer Italo Calvino. This meeting has as its subject the question of the human and the non-human. What forces make up the human? What assemblages of elements make up language, literature, subjectivity? And what does it mean that these forces come from outside the human at the same time as they create the human? Calvino is often accused of being an unemotional writer, lacking in human warmth. With this I agree completely. Calvino does lack human warmth because he allows non-human forces to penetrate his writing, taking it beyond conventionalized and banal prefabricated emotion into a dimension of new intensities. Deleuze will provide us with a vocabulary of concepts with which to discuss these non-human forces and their potential for moving the human out of itself and into a new assemblage of thoughts, passions and actions.
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Viens, Lise. "La citation dans la pensée créatrice de Bernd Alois Zimmermann." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39886.

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The use of quotation is a crucial element in Bernd Alois Zimmermann's (1918-1970) creative thinking. This thesis explores the evolution of Zimmermann's compositional approach to the use of this procedure. The first chapter defines four categories of borrowing which correspond, although in a non-exclusive manner, to the features which characterize four compositional periods: stylisation, homage, teleological genesis and pluralism (A compositional technique defined by the composer around 1960 and aiming at representing a spherical conception of time). The second chapter considers the nature, source and content of the quotations and focuses on the recurrence of the identical fragments, themes and types of writing common to several works. It also establishes that the same logic--where theological concerns and the concept of time function as essential points in a network of reference--unifies older works with more recent ones. The third chapter analyzes the strategic role of passages containing quotations with respect to global form and as solution to compositional problems which confronted the composer. The fourth chapter deals with methods of construction which characterize passages with quotations and demonstrates the composer's fascination with Franco-Flemish polyphonic techniques (cantus firmus, proportional canon and isorhythm). In these contexts, borrowed fragments tend not only to have a historical association with such structural types, but also stem from a repertoire supposedly universal. This permits the creation of textures charged with meaning and allows the listener to perceive different superimposed layers.
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Abel, Hermione. "An analytical study of narrative techniques in Giono's Regain." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1002008.

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The dominant theme in Regain is that of death leading to rebirth. This dissertation attempts to explore Giono's narrative techniques within this context. No single chapter will be devoted to a specific technique; instead, the various devices used by the author are discussed as they emerge from the structure of the chapters. Justifying the field of study as defined in the "Introduction", the following three chapters outline the passage of life from death to eventual rebirth. With acknowledgement to Frank Kermode, who writes: "A concord of past, present and future three dreams which, as Augustine said, cross in our minds, as in the present of things past, the present of things present, and the present of things future" ¹, the first three chapters bear his terminology for their headings. Chapter One, "The Present of Things Past", deals with Mameche's loss of her husband and son. Chapter Two, "The Present of Things Present", focuses upon Mameche' s realization of Gaubert's departure, and the decision that she must do something to save the dying village of Aubignane. Chapter Three, "The Present of Things Future", sees Mameche setting out in search of a wife for Panturle, and succeeding. This brings to an end Part One of the novel. Interwoven throughout the chapters are paradigms from Greek mythology, rich in universal symbolism, and the author's belief in man's ability to fuse himself with his surroundings. The conclusion summarizes the findings of this study, attempting to show how an analysis of Giono's narrative technique provides an insight into such a novel as Regain. ¹The Sense of an Ending (London: Oxford University Press, 1966), rpt., 1970, p. 50.
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Books on the topic "1925-1970 Criticism and interpretation"

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1925-1970, Brownjohn Robert, ed. Robert Brownjohn, sex and typography, 1925-1970: Life and work. New York: Princeton Architectural Press, 2005.

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Jaẏenaudadīna, Khāleka Bina. Rokanujjāmāna Khāna Dādābhāi, 1925-1999. Ḍhākā: Bāṃlā Ekāḍemī, 2001.

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Roy Turner Durrant, 1925-1998. Bristol: Sansom, 2011.

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Rājkautaman̲. A. Mātavaiyā, 1872-1925: Vāl̲vum paṭaippum. Bangalore: Kāvyā, 1995.

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Schiattarella, Amedeo. Richard Neutra, 1892-1970. Roma: Officina, 1993.

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Schiattarella, Amedeo. Richard Neutra, 1892-1970. Roma: Officina, 1993.

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Italia, Paola. Il pellegrino appassionato: Savinio scrittore : 1915-1925. Palermo: Sellerio, 2004.

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1920-, Crémieux Francis, and Aragon 1897-, eds. Avec Aragon: 1970-1982. [Paris]: Gallimard, 2003.

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taidemuseo, Helsingin kaupungin, ed. Magnus Enckell, 1870-1925. [Helsinki: Helsingin kaupungin taidemuseo, 2000.

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1881-1970, Mokry Mészáros Dezső, ed. Mokry Mészáros Dezső, 1881-1970. Miskolc: Herman Ottó Múzeum, 1985.

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Book chapters on the topic "1925-1970 Criticism and interpretation"

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Amelina, Anna V. "The Esenin’s Perception in the Czech Republic in the 1950–1980’s." In Sergey Esenin in the Context of the Epoch, 582–602. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0672-7-582-602.

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The article analyses the interpretation of S. A. Esenin’s work by Czech criticism and translations of his works into Czech from the second half of the 1950’s to the 1980’s. During the period 1950’s–1960’s one can observe two obvious ideological “skews” in the perception of Esenin: one of them was created under the influence of the Soviet doctrine, the second represents a view of Esenin exclusively as an avant-garde poet-imaginist. In 1970–1980’s Esenin was the part of the officially permitted layer of culture, his works were actively translated, staged as well as he was ubiquitous both in the studies of literary scholars and in mass periodicals.
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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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