Academic literature on the topic '1940-1989 Criticism and interpretation'

Gherasim, Gabriel C. "American Art Criticism between the Cultural and the Ideological (II)." American, British and Canadian Studies Journal 25, no. 1 (December 1, 2015): 20–36. http://dx.doi.org/10.1515/abcsj-2015-0006.

Slater, Niall W. "‘Against Interpretation’: Petronius and art Criticism." Ramus 16, no. 1-2 (1987): 165–76. http://dx.doi.org/10.1017/s0048671x00003295.

Vasic, Aleksandar. "Engagement in musical criticism: Pavle Stefanovic’s texts in The Music Herald (1938-1940)." Muzikologija, no. 27 (2019): 203–20. http://dx.doi.org/10.2298/muz1927203v.

WHITTALL, ARNOLD. "New Opera, Old Opera: Perspectives on Critical Interpretation." Cambridge Opera Journal 21, no. 2 (July 2009): 181–98. http://dx.doi.org/10.1017/s0954586710000078.

Aleksandrova-Osokina, Ol'ga Nikolaevna, and Jian Huang. "Interpretation of P. Komarov’s Creative Work in Literary Criticism of “Dalniy Vostok (Far East)” Magazine (the 1940-1950s)." Philological Sciences. Issues of Theory and Practice, no. 1 (January 2020): 14–17. http://dx.doi.org/10.30853/filnauki.2020.1.2.

Jastrzębska, Joanna. "CZY INTERPRETACYJNA „ZEMSTA” TRWA? ROSJA W POLSKIEJ PROZIE PODRÓŻNICZO-REPORTAŻOWEJ OSTATNICH LAT." Rusycystyczne Studia Literaturoznawcze 28 (December 12, 2018): 157–78. http://dx.doi.org/10.31261/rsl.2018.28.08.

Nannicelli, Ted. "Animals, Ethics, and the Art World." October 164 (May 2018): 113–32. http://dx.doi.org/10.1162/octo_a_00325.

Alwan, Alwan, Mahrus As'ad, and Muhammad Riza. "Peran K.H. A. Muhammad Isa pada Tahun 1989-2021 dalam Perwujudan Islam Moderat di Cianjur Selatan." Historia Madania: Jurnal Ilmu Sejarah 5, no. 2 (December 30, 2021): 224–39. http://dx.doi.org/10.15575/hm.v5i2.15172.

Nenovsky, Nikolay, and Pencho Penchev. "The Austrian school in Bulgaria: A history." Russian Journal of Economics 4, no. 1 (April 23, 2018): 44–64. http://dx.doi.org/10.3897/j.ruje.4.26005.

Lisowska, Katarzyna. "Women and Intertextuality: On the Example of Margaret Atwood’s The Penelopiad." Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre 2, no. 1 (January 1, 2014): 18–27. http://dx.doi.org/10.18778/2353-6098.2.03.

Strazds, Robert. "Contemporary Russian Soviet women's fiction, 1939-1989." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60088.

Pupo, Mark. "Homo Faber : Edmund White by Edmund White by Mark Pupo." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0022/MQ50560.pdf.

Fraser, Graham 1966. "The self-conscious narrator in Beckett's trilogy /." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59888.

Mcavoy, Meghan. "Critical nationalism : Scottish literary culture since 1989." Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/23242.

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.

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.

Crous, Matthys Lourens. "Die diskoers van Antjie Krog se Lady Anne (1989)." Thesis, Stellenbosch : University of Stellenbosch, 2002. http://hdl.handle.net/10019.1/16085.

Buis, Johann S. "Hindemith and early European music in the United States (1940-53)." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/833671.

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.

Makhanya, Phylacia Nozipho. "Ucwaningo olunzulu ngemvunulo yezinkondlo zika-D.B.Z. Ntuli, encwadini ka L.T.L. Mabuya: Ilaka lokulangazelela." Thesis, University of Zululand, 1997. http://hdl.handle.net/10530/1124.

Moll, Eduardo. Carlos Revilla, 1940. Lima: Editorial Navarrete, 1991.

Baena, Pablo García. Poesía completa (1940-2008). 3rd ed. Madrid: Visor Libros, 2008.

Mājid, Jaʻfar. Jaʻfar Mājid, 1940-2009. [Tunis?]: Wizārat al-Thaqāfah wa-al-Muḥāfaẓah ʻalá al-Turāth bi-al-Taʻāwun maʻa Ittiḥād al-Kuttāb al-Tūnisīyīn, 2010.

Poesía completa (1940-2008). 3rd ed. Madrid: Visor Libros, 2008.

Baena, Pablo García. Poesía completa (1940-2008). 3rd ed. Madrid: Visor Libros, 2008.

José Ignacio Cabrujas, 1989. Caracas, Venezuela: Fundación Editorial el Perro y la Rana, 2006.

Aleĭnikov, Vladimir. Skifskie khroniki: 1989-1993. Moskva: Izd-vo Lira, 1993.

South, Will. James Taylor Harwood, 1860-1940. Salt Lake City, Utah: Utah Museum of Fine Arts, University of Utah, 1987.

Denizeau, Gérard. Riberzani: Peintures intimes, 1989-1999. Paris: Inard, 1999.

Oliva, Achille Bonito. Larry Rivers: Opere 1989-1992. Milano: Trentadue, 1993.

Nannicelli, Ted. "Animals in Contemporary Art." In Artistic Creation and Ethical Criticism, 103–26. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197507247.003.0005.

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.

"clash between the beauty-loving Renaissance and the he [Spenser] was quickly swept overboard because of moral Reformation. In the light of the medieval reli-his inability to write like Donne, Eliot, and Allen gious tradition examined by Tuve, Guyon destroys Tate’ (1968:2). His extended interpretation of Book the Bower because he ‘looks at the kind of complete II, The Allegorical Temper (1957), followed by essays seduction which means the final death of the soul’ on the other books, traces the changing psycholo-(31). gical or psychic development of the poem’s major If the New Critics of the 1930s to the early 1950s characters by ‘reading the poem as a poem’ (9) rather had been interested in Spenser (few were), they than as a historical document. My own book, The would not have considered his intention in writing Structure of Allegory in ‘The Faerie Queene’ (1961a), The Faerie Queene because that topic had been dis-which I regard now as the work of a historical critic missed as a fallacy. For Wimsatt and Beardsley partly rehabilitated by myth and archetypal criticism, 1954:5 (first proclaimed in 1946), ‘The poem is not examines the poem’s structure through its patterns the critic’s own and not the author’s (it is detached of imagery, an interest shared with Alastair Fowler, from the author at birth and goes about the world Spenser and the Numbers of Time (1964), and by beyond his power to intend about it or control it)’. Kathleen Williams, Spenser’s ‘Faerie Queene’: The So much for any poet’s intention, conscious or World of Glass (1966). unconscious, realized or not. Not that it would have In any history of modern Spenser criticism – for a mattered much, for the arbiter of taste at that time, general account, see Hadfield 1996b – Berger may T.S. Eliot, had asked rhetorically: ‘who, except schol-serve as a key transitional figure. In a retrospective ars, and except the eccentric few who are born with glance at his essays on Spenser written from 1958 to a sympathy for such work, or others who have delib-1987, he acknowledges that ‘I still consider myself erately studied themselves into the right apprecia-a New Critic, even an old-fashioned one’ who tion, can now read through the whole of The Faerie has been ‘reconstructed’ by New Historicism Queene with delight?’ (1932:443). In Two Letters, (1989:208). In Berger 1988:453–56, he offers a per-Spenser acknowledges that the gods had given him sonal account of his change, admitting that as a New the gift to delight but never to be useful (Dii mihi, Critic he had been interested ‘in exploring complex dulce diu dederant: verùm vtile numquam), though representations of ethico-psychological patterns’ he wishes they had; and, in the Letter to Raleigh, he apart from ‘the institutional structures and discourses recognizes that the general end of his poem could be that give them historical specificity’. Even so, he had achieved only through fiction, which ‘the most part allowed that earlier historical study, which had been of men delight to read, rather for variety of matter, concerned with ‘historical specificity’, was ‘solid and then for profite of the ensample’ (10). As a conse-important’. For the New Historicist Louis Adrian quence, he addresses his readers not by teaching them Montrose, however, earlier historical scholarship didactically but rather through delight. It follows that ‘merely impoverished the text’ (Berger 1988:8), and if his poem does not delight, it remains a closed book. he is almost as harsh towards Berger himself, com-Several critics who first flourished in the 1950s and plaining that his writings ‘have tended to avoid direct 1960s responded initially to Spenser’s words and confrontations of sociopolitical issues’, though he imagery rather than to his ideas, thought, or histor-blames ‘the absence of a historically specific socio-ical context. One is Donald Cheney, who, in Spenser’s political dimension’ on the time they were written – Image of Nature (1966), read The Faerie Queene a time when ‘the sociopolitical study of Spenser was ‘under the intensive scrutiny which has been applied epitomized by the pursuit of topical identifications or in recent decades to metaphysical lyrics’, seeking the cataloguing of commonplaces’ (7). In contrast, out ‘ironic, discordant impulses’, ‘rapidly shifting the New Historicism, of which he is the most elo-allusions’, and the poet’s ‘constant insistence upon quent theorist, sees a work embedded – i.e. intrins-the ambiguity of his images’ (7, 17, 20). Another is ically, inextricably fixed – not in history generally, Paul Alpers, whose The Poetry of ‘The Faerie Queene’ and certainly not in ‘cosmic politics’ that Thomas (1967) demonstrated that individual stanzas of the Greene 1963:406 claims to be the concern of all epics, poem may be subjected to very intense scrutiny. A but in a historically specific sociopolitical context. third, the most influential of all, is Harry Berger, Jr, (For further comments on their clash, see Hamilton." In Spenser: The Faerie Queene, 25. Routledge, 2014. http://dx.doi.org/10.4324/9781315834696-23.

"Given the sample bias towards Sicilian sites, it is difficult to see any consistent regional differences expressed in burial practices. The start of burial and occupation at the three north Sicilian sites at around the beginning of the Holocene however, suggests that the appearance of these practices (in the archaeological record) may be related to particular circumstances of changed mobility within, and use of, the changing landscape in this area; earlier burials are known from peninsular Italy (Mussi 1986; 1987). Although the list is necessarily incomplete and the dating is uncertainly biassed, there is a suggestion in the figures as presented that burial in caves may have been confined to, or more common in, the final LUP and earlier Mesolithic; burial practice, at least in terms of place, may have been changing by the later Mesolithic. Interestingly, caves with Epipalaeolithic burials do not show continuity of use for the same practice into the Neolithic: different sites are chosen (see below). Arguments against marked regional differentiation are the generally similar burial position, and the occurrence of identical types of perforated deer teeth from Puglia and Sicilia. The perforated tooth from the Grotta del Cavallo in Puglia probably relates to the late Romanellian, perhaps at circa 10000-8000 cal.BC; those from the Grotta Romanelli to a similar date. Equivalence of practice, of course, does not necessarily correlate with equivalence of meaning, as is suggested by the different faunal contexts of these finds. The main hunted animals in Puglia were generally equids and bovines, but deer and pig in Sicilia. Discussion Italian Late Upper Palaeolithic and Mesolithic burials have been discussed by Mussi (1986; 1987), Mussi et al. (1989) and Zampetti & Mussi (1991). Although most of the burials are from outside the study area (mostly in Liguria), Mussi (1987) includes the Grotta di San Teodoro and Grotta delPUzzo (SIC), and the Grotta del Romito (CAL). She considers differences to reflect different emphases and conditions of social reproduction (1987: 45ff). In scheme A only certain sex-age individuals were buried, perhaps related to the circumstances of their death. She suggests that male hunters are represented at the Grotta di San Teodoro (although revision now suggests three tentatively identified females: Mussi 1987: 46; Fabbri 1993). In contrast, the burials at the Grotta del Romito represent scheme C, with both males and females, reflecting increased emphasis on social reproduction through exogamy (Mussi 1987: 47-8). She also notes the apparent contemporaneity of the first occupation and burials at the Grotta di San Teodoro, and argues that this represents the "colonisation" of Sicilia at a time when it was still "almost deserted" (Mussi 1987: 47-8). A similar argument is expanded by Zampetti & Mussi (1991), in which they also consider the evidence of 'art'. They argue that in the early Late Upper Palaeolithic there were burials of high-status individuals, perhaps related to control of information and partner exchange in a sparsely-populated landscape (Mussi 1987: 156). By the final Late Upper Palaeolithic they argue that there is more evidence of concern with descent, perhaps more stabilised (partner) exchange networks, and less evidence of pre-eminent individuals in the burials (Mussi 1987: 157). Stimulating though their interpretations are, in attempting to relate burial modes to changing social organisation and mapping of the social landscape, one might criticise some of the work in detail: for example, the burials from the Grotta del Romito are difficult to visualise as partners (see below). Any interpretation must be preceded by the realisation that the sample is extremely small and is already uncertainly biassed by accidents of excavation. Only certain people may have been buried; and the survival and excavation of burial (or other disposal sites) may be skewed. Thirdly, the representation of remains within those sites may be biassed, for example by the lower survival rates of infant and child remains. However, assuming that the sample is at least partly representative of the practices surrounding the dead, the following suggestions may be made." In Gender & Italian Archaeology, 70–75. Routledge, 2016. http://dx.doi.org/10.4324/9781315428178-17.