Relevant bibliographies by topics / 1941-1996 Criticism and interpretation

Academic literature on the topic '1941-1996 Criticism and interpretation'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "1941-1996 Criticism and interpretation"

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Cirkovic, M. M. "A note on singularities and the arrow of time." Serbian Astronomical Journal, no. 162 (2000): 91–95. http://dx.doi.org/10.2298/saj0062091c.

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An interesting thought experiment claiming to highlight the connection between singularities and the global arrow of time is re-analyzed, and a further specification suggested. Against the criticism of Price (1996), it is proposed that the original Penrose (1979) interpretation is still valid. Some ramifications of the result of our understanding of the cosmological arrow of time are sketched.
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Oktavia, Wahyu. "Metaphor and Interpretation of Social Criticism of Community in Iwan Fals Albums." Jurnal KATA 3, no. 1 (May 28, 2019): 15. http://dx.doi.org/10.22216/kata.v3i1.3882.

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<p><em><span lang="EN-US">This research aims to describe the metaphor and interpretation of social criticism in Iwan Fals song albums. The use of qualitative descriptive method leads the result of the research to elaborate the data by words rather than numbers. The data of the research was taken from the lyrics of Iwan Fals’ songs; “Opiniku”, “Sumbang”, “Tikus-Tikus Kantor”, “Besar Kecil”, “Dunia Binatang”, “17 Juli 1996”, “Buktikan”, dan “Kuda Lumping”. Then, the researcher observed and marked the lyrics as the technique in collecting the data. By the results, it can be concluded four metaphorical classifications; animal metaphor, anthropomorphic, from concrete to abstract, and sinaesthetics, the results of the study show that Iwan Fals uses many metaphors of animals such as tigers, snakes, elephants, rats, cats, shrimp, dogs, crocodiles, dinosaurs, lizards, lizards, ducks, parrots and lizards.</span></em></p>
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Carroll, Claire E. "Another Dodecade: A Dialectic Model of the Decentred Universe of Jeremiah Studies 1996—2008." Currents in Biblical Research 8, no. 2 (December 17, 2009): 162–82. http://dx.doi.org/10.1177/1476993x09346504.

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In the years since the publication of Robert Carroll’s ‘Surplus Meaning and the Conflict of Interpretations: A Dodecade of Jeremiah Studies (1984—95)’, in Currents 4 in 1996, major paradigm shifts in biblical studies have resulted in an unprecedented level of innovation. Increased engagements with the element of chaos in the text and the resultant innovative encounters with this problematic scriptural material include influential contributions from philosophy, cultural and literary theories. The present review surveys the current state of the field of Jeremiah studies by tracing the impact of post-structuralist methodologies of decentring on ways of thinking about and engaging with Jeremiah. It argues that in the aftermath of the widely acknowledged end of the hegemony of historical-criticism as the dominant paradigm of biblical interpretation articulated by Perdue as ‘the collapse of history’, Jeremiah studies has taken on the shape and nature of a dialectic between the principles of order and chaos.
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Baits, Abdul. "Respon Masyarakat Muslim Terhadap Keberadaan Umat Kristen di Cikawungading Cipatujah Tasikmalaya Tahun 1996-2019." Historia Madania: Jurnal Ilmu Sejarah 3, no. 1 (August 27, 2020): 69–92. http://dx.doi.org/10.15575/hm.v3i1.9396.

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This study aims to explain how the Muslim community responded to the presence of Christians in Cipatujah, as it is known that Christians came to Cipatujah around 1936, namely Javanese people from Salatiga who were brought by the leadership of a Dutch missionary named Tuan A. Van Emmerik. The method used in this research is the historical method by carrying out the stages starting from data collection (heuristics), levers (criticism), interpretation (interpretation) and writing (historiography). Data collection techniques used in this research are text study, observation. and interviews. The results of this study show that there have been ups and downs of relations between Muslims and Christians in Cipatujah. This can be seen from several conflicts that have occurred from the riots in 1996 to the burning of churches and Christian settlements in 2001. Keywords: Response, Muslims, Christians, Cipatujah.
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Viviers, H. "Nie 'n kans vat of 'n kans vermy Die, maar alle kanse benut! 'n Sosio-retoriese waardering van Prediker 11:1- 6." Verbum et Ecclesia 18, no. 2 (July 4, 1997): 365–79. http://dx.doi.org/10.4102/ve.v18i2.570.

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No taking or avoiding of chances, but utilising all chances! A sociorhetorical appreciation of Ecclesiastes 11:1-6. The book of Vemon K Robbins, Exploring the texture of texts: A guide to sodo-rhetorical interpretation (Valley Forge: Trinity Press, 1996), is used to analyse the short, but complicated text, Ecclesiastes 11:1-6. Sodorhetorical criticism provides for a sophisticated grasp on the complex phenomenon, "text". The analysis of the different textures of a text (inner, inter-, sodal and cultural, ideological and sacred) creates a rich environment of meaning, within which interpretation can take place. The conclusion reached on Ecclesiastes 11:1-6 is that it adheres to the values of protest wisdom, but mnrkedly cynical and pessimistic. It advocates a "carpe diem" lifestyle, however, without escaping uncertainty. No interpretation is value-free and neither is this one. Hopefully it is sound within the created environment of meaning.
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Ashizu, Kaori. "‘Hamlet through your legs’." Critical Survey 33, no. 1 (March 1, 2021): 85–102. http://dx.doi.org/10.3167/cs.2021.330107.

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This article discusses four Hamlet adaptations produced in twentieth-century Japan: Naoya Shiga’s ‘Claudius’s Diary’ (1912), Hideo Kobayashi’s ‘Ophelia’s Testament’ (1931), Osamu Dazai’s New Hamlet (1941) and Shohei Ooka’s Hamlet’s Diary (1955). Though differently motivated, and written in different styles, they collectively make something of a tradition, each revealing a unique, unexpected interpretation of the famous tragedy. Read as a group, they thoroughly disprove the stereotypical view that Japan has generally taken a highly respectful, imitative attitude to Western culture and Shakespeare. Hamlet has certainly been revered in Japan as the epitome of Western literary culture, but these adaptations reveal complicated, ambivalent attitudes towards Shakespeare’s play: not only love and respect, but anxiety, competitiveness, resistance and criticism, all expressed alongside an opportunistic urge to appropriate the rich ‘cultural capital’ of the canonical work.
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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.

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Pavle Stefanovic (1901-1985) is one of the most prominent Serbian music critics and essayists. He created extensive musicographic work, largely scattered in periodicals. A philosopher by education, he had an excellent knowledge of music and its history. His style was marked by eloquence, associativity and plasticity of expression. Between 1938 and 1940 he published eighteen music reviews in The Music Herald, the longest-running Belgrade music magazine in the interwar period (1928-1941, with interruption from 1934 to 1938). Stefanovic wrote about concerts, opera and ballet performances in Belgrade, performances by local and eminent foreign artists. His reviews include Magda Tagliaferro, Nathan Milstein, Jacques Thibaud, Enrico Mainardi, Bronis?aw Huberman, Alexander Uninsky, Alexaner Borovsky, Ignaz Friedman, Nikita Magaloff and many other eminent musicians. Th is study is devoted to the analysis of the Stefanovic?s procedure. Pavle Stefanovic was an anti-fascist and left ist. He believed that the task of a music critic was not merely to analyze and evaluate musical works and musical interpretations. He argued that the critic should engage in important social issues that concerned music and music life. That is why he wrote articles on the occasion of German artists visiting Belgrade, about the persecution of musicians of Jewish descent and the cultural situation in the Third Reich. On the other hand, Stefanovic was an aesthetic hedonist who expressed a great sense of the beauty of musical works. Th at duality - a socially engaged intellectual and a subtle ?enjoyer? of the art - remained undisturbed. In these articles he did not go into a deterministic interpretation of the structure of musical composition and the history of music. And he did not accept the larpurlartistic views.
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Rodiah, Ita. "New Historicism: Kajian Sejarah dalam Karya Imajinatif Ukhruj Minha Ya Mal’un Saddam Hussein." Jurnal Kajian Islam Interdisipliner 4, no. 2 (November 28, 2020): 125. http://dx.doi.org/10.14421/jkii.v4i2.1102.

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Penelitian ini membuktikan bahwa kajian kesusastraan dengan menggunakan new historicism mampu mengungkap pelbagai kekuatan budaya, sosial, ekonomi, dan politik yang menyetubuh dan menyelinap dalam setiap sela teks sastra yang merupakan ranah estetik (aesthetic richness). Penelitian ini mengungkapkan bahwa karya sastra tidak dapat dipisahkan dengan pelbagai konteks zaman dan praksis budaya, sosial, ekonomi, serta politik yang melingkupinya. Penelitian ini tidak sependapat dengan konsep new criticism John Crowe Ransom (The New Criticism, 1941 dan Criticism as Pure Speculation, 1971) dan William K. Wimsatt dan Monroe Beardsley (The Intentional Fallacy, 1946 dan The verbal Icon, 1954) yang mengatakan bahwa karya sastra merupakan autotelic artefact. Sehingga menjadi tidak tepat ketika pemahaman terhadap sastra dikaitkan dengan pengarang, pembaca, maupun konteks di luar karya sastra. Penelitian ini mendukung konsep new historicism Stephen Greenblatt (Practicing New Historicism, 2000) yang menyatakan bahwa dunia imajinatif-estetis tidak pernah terlepas dari relasi kekuasaan dunia realitas yang termanifestasi dalam karya sastra sebagai apresiasi estetis individu dan praksis budaya, sosial, ekonomi, dan politik. Berdasarkan interpretasi kritis new historicism Greenblatt terhadap novel Ukhruj Minha Ya Mal’un diperoleh hasil penelitian berupa pemahaman karya imajinatif yang penuh dengan simbol yang lebih lengkap dan dalam (deeper understanding of value) dengan melibatkan konteks ekstrinsikalitas karya sastra di dalamnya dan novel Ukhruj Minha Ya Mal’un hadir sebagai tanggapan reflektif-imajinatif Saddam Hussein sebagai pengarangnya.[This research proves that literary studies using new historicism can reveal the various cultural, social, economic, and political forces that intercourse and sneak in every literary text: aesthetic richness. This research reveals that literary works cannot be separated from the various contexts of the era and the cultural, social, economic, and political praxis that surround them. This study disagrees with the concept of new criticism John Crowe Ransom (The New Criticism, 1941 and Criticism as Pure Speculation, 1971) and William K. Wimsatt and Monroe Beardsley (The Intentional Fallacy, 1946 and The verbal Icon, 1954) literature is an autotelic artifact. So it is not appropriate when the understanding of literature is associated with authors, readers, and contexts outside of literary works. This research supports Stephen Greenblatt's new historicism concept (Practicing New Historicism, 2000), which states that the imaginative-aesthetic world is never separated from the power relations of the world of reality which are manifested in literature as an individual aesthetic appreciation and cultural, social, economic, and political praxis. Based on the critical interpretation of Greenblatt's new historicism of the Ukhruj Minha Ya Mal'un novel, the research results are in the form of a deeper understanding of imaginative works of symbols (deeper understanding of value) involving the context of the extrinsicality of literary works in it and the novel Ukhruj Minha Ya Mal. 'un appears as the reflective-imaginative response of Saddam Hussein as the author.]
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Junaedi, Anggi A. "PERAN MEDIA DALAM MEMBANGUN OPINI PUBLIK TENTANG KERUSUHAN TASIKMALAYA 1996." SINAU : Jurnal Ilmu Pendidikan dan Humaniora 7, no. 1 (April 26, 2021): 51–75. http://dx.doi.org/10.37842/sinau.v7i1.61.

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The Tasikmalaya incident was a major and historic event that occurred in 1996. As a major event, media such as newspapers will never forget to report it. Interestingly, each newspaper has its own perspective in seeing reality. This method is used by media in a reality to then be constructed and produced in the form of news. As a result, the production of news varies even if the object is the same, whether we realize it or not. In the world of the press, this activity is known as media politics. And also, a historical event by Fernand Braudel declared as a historical event in a quick period of time. It is interesting to study how the media with Islamic and nationalist ideology reported on the Tasikmalaya incident because the incident involved these two elements. To answer this problem, the historical method is used which begins with a heuristic process, criticism, enters the interpretation process and historiography activities at the end. As a result, the construction of the news carried out by the Islamic and nationalist newspapers was very different. Ideology does influence the news. However, ownership and environmental factors cannot be ignored. Even more influential than ideology. In reporting Tasikmalaya, Islamic newspapers tend to defend Muslims. Meanwhile nationalist newspapers blame Muslims.
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Ermayanti, Dewi. "KEPOLISIAN DAERAH JAMBI (1996 – 2008)." Istoria: Jurnal Ilmiah Pendidikan Sejarah Universitas Batanghari 5, no. 2 (January 11, 2022): 96. http://dx.doi.org/10.33087/istoria.v5i2.128.

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AbstrakPenelitian ini bertujuan untuk mengetahui, dan memberikan penjelasan tentang bagaimana peranan Kepolisian Daerah Jambi dalam memberikan pelayanan kepada masyarakat dalam kurun waktu 1996 – 2008. Metode penelitian yang digunakan adalah metode sejarah, meliputi tahapan heuristik, kritik sumber, interprestasi, dan historiografi. Sumber sejarah yang digunakan berupa dokumen ataupun laporan resmi, buku-buku, artikel makalah, lewat studi kepustakaan, serta ditambah dengan hasil wawancara. Pendekatan yang digunakan yaitu langkah-langkah dan arah analisisnya, oleh karena itu sebagai landasan konseptual penulis menggunakan konsep Kepolisian Daerah Jambi dalam kurun waktu 1996 – 2008. Perilaku individu dalam kesehariannya hidup bermasyarakat berhubungan erat dengan peran. Hasil penelitian menunjukkan bahwa demokratisasi dan civil society menjadi dambaan masyarakat. Masyarakat menginginkan Polisi yang profesional. Polisi sipil yang humanis dan bersahabat dengan masyarakat menjadi sesuatu yang mutlak. Polda Jambi dituntut melakukan berbagai perubahan dengan menghadirkan strategi perubahan dalam memberikan perlindungan, pengayoman, dan pelayanan kepada masyarakat. Apabila Polda Jambi tidak melakukan strategi perubahan mengikuti perkembangan masyarakat, maka sudah bisa dipastikan kamtibmas yang diinginkan oleh masyarakat Jambi sulit tercapai.Kata Kunci : Kepolisian, Daerah, JambiAbstractThis study aims to determine, and provide an explanation of how the role of the Jambi Regional Police in providing services to the community in the period 1996 – 2008. The research method used is the historical method, including heuristic stages, source criticism, interpretation, and historiography. The historical sources used are in the form of documents or official reports, books, paper articles, through literature studies, and added with the results of interviews. The approach used is the steps and direction of the analysis, therefore as a conceptual basis the author uses the Jambi Regional Police concept in the period 1996 - 2008. Individual behavior in daily life in society is closely related to roles. The results of the study show that democratization and civil society are the people's dreams. People want professional police. Civilian police who are humanist and friendly to the community are an absolute must. The Jambi Regional Police are required to make various changes by presenting a change strategy in providing protection, protection, and services to the community. If the Jambi Police do not implement a change strategy following the development of the community, it is certain that the Kamtibmas desired by the Jambi people will be difficult to achieve.Keywords: Police, Region, Jambi
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Dissertations / Theses on the topic "1941-1996 Criticism and interpretation"

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Brûlé, Michel 1964. "Partie critique: Réflexion sur "L'art du roman" de Virginia Woolf ;Partie création: ... Dent pour dent." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59534.

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In the first segment of the critical part of my thesis, my thought lays on "L'art du roman" of Virginia Woolf. In the second part, while recognizing certain qualities in the critical work of the English writer, I take side in favor of the literary theories of Celine and Sartre. In the last part of this text, I am exposing my views according to which the Quebec's literature would have greater advantage of being more "engage". The creating part of my thesis takes shape as a "roman engage". The story is about a disillusioned nationalist Quebecer, graduate and unemployed, who decides to change his personality to be like an English Canadian to better start his career in Toronto. Though all the sustained efforts he made to become Canadian, he realizes that he is first and above Quebecer. In ... Dent pour dent, the political message plays a fundamental role, but the esthetical aspects like humor, repetition and rythm are in the first place.
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Sautter, Sabine. "Irrationality and the development of subjectivity in major novels by William Faulkner, Hermann Broch, and Virginia Woolf." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0017/NQ55379.pdf.

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Elnitsky, Svetlana. "The conflict of the lyric hero and reality in the poetic world of Tsvetaeva = Konflikt liricheskogo geroi︠a︡ i deĭstvitelʹnosti v poėticheskom mire T︠S︡vetaevoĭ." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=76527.

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The study has two main aims: it presents an overview of Tsvetaeva's poetic world and it analyses one of her major themes, that of the conflict between the lyric hero and reality.
Close reading of Tsvetaeva's entire oeuvre reveals a system of invariant themes, motifs and their concrete manifestations; this system is hierarchically organized.
The study describes the structure of Tsvetaeva's artistic universe: its mutually opposed worlds ("this", non-authentic, and "the other", authentic) and its different types of characters.
Particular attention is given to the peculiarities of Tsvetaeva's lyric hero, notably intensity, the "two-fold nature", and the predilection for conflict. Analysis focuses on various forms of conflict of the lyric hero--with the world, with life, and with the self. This demonstrates the total disharmony of Tsvetaeva's universe.
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Vézina, Anne-Marie. "La femme dans l'oeuvre de Colette et de Virginia Woolf /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65916.

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Polychronakos, Helen. "Reflecting Woolf : Virginia Woolf's feminist politics and modernist aesthetics." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30201.

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No study of Virginia Woolf can do justice to the complexity of her life and work without taking into account the numerous contradictions present in her thought. Though Woolf is recognized as a revolutionary contributor to the development of modernism, it is also important to remember that she was born in 1882 and that the nineteenth century also left its mark on her. The first chapter will examine this double sensibility. The second chapter will trace the development of Woolf's modernist aesthetic. She was obviously rebelling against the realism valued by her Victorian and Edwardian predecessors when she conceived of a literary style capable of abstracting from purely formal elements a more "profound reality" than that captured by objective and representational descriptions. Despite this revolutionary tendency, she constructs a hierarchy of "realities" that is somewhat elitist in its mysticism and runs counter to the revolutionary feminist and Marxist thought evident in so much of her work. The last chapter will examine the contradictions that riddle Woolf's feminist writings.
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Stewart, Janice 1966. "Violent femmes : identification and the autobiographical works of Virginia Woolf, Radclyffe Hall, and Emily Carr." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36712.

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The questions posed and examined in Violent Femmes take their genesis from psychoanalytic arguments which contend that identity is not a stable monadic thing but rather a continuing process of engagement and negotiation between the self and others. Sigmund Freud, Melanie Klein, D. W. Winnicott, and Christopher Bollas, amongst others, have noted the temporary, coalitional, and provisional nature of the ways in which identity is apprehended and experienced. This thesis expands upon such a theoretical framework of identity formation to specifically question the ways in which the formation and maturation of an artistic identity may, in part, be predicated upon the psychological capacity to enact violence within the realm of the imaginary. Violent Femmes examines the complex relationship between psychological violence and artistic identity as that relationship is recorded in the autobiographical writings of Virginia Woolf, Radclyffe Hall, and Emily Carr.
This project traces the written vestiges of Woolfs, Hall's, and Carr's individual internalised struggles to formulate an artistic identity in specific relationship with an already established 'model' of artistic creativity and identity. Woolfs, Hall's, and Carr's struggles to claim a personal artistic identity, in some ways from their individual model of the artist, are waged within the minds of the authors themselves. However, the violence enacted within their imaginations---the violence perpetrated against the models of the artist---is thrust into the external world, not only within the writings of these three women, but also by the ways in which each author resolves or fails to resolve her own violent conflict with her imaginary model of the artist.
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Weber, Undine S. "Wolfgang Koeppens auseinandersetzung mit der tradition: aspekte der intertextualität in der so genannten nachkriegs‐trilogie." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020833.

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Wolfgang Koeppen’s three post‐war novels have often been called a trilogy, purely based on their publication in rapid succession in the early 1950s. This study establishes a connection between the works by looking at their roots in Irish, Anglo‐American, French and German modernism, and shows up links between Wolfgang Koeppen, James Joyce, E.E. Cummings, Charles Baudelaire and Thomas Mann. This comparative analysis concludes, by integrating socio‐political factors of life in West Germany after World War II, that Koeppen transcends the modernist tradition – the fact that modernism has become tradition, i.e. it has become “classic”, in contradiction to being “modern”. Koeppen’s texts do not only allude to and build on classic texts and refer to stylistic and narrative modernist elements such as stream‐of‐consciousness and sketching a fragmented society in turmoil; the very act of recurring to myths and texts of the Western canon in order to depict the disaffected individual is an almost post‐modern one.
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Sandison, Jennifer Madden. "Reflections of self : the mirror image in the work of Virginia Woolf." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=64108.

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Christodoulides, Nephie J. "Out of the cradle endlessly rocking : Sylvia Plath as mother-creator in light of Julia Kristeva's theory of subject formation." Thesis, University of Stirling, 2001. http://hdl.handle.net/1893/3467.

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This introductory chapter aims to briefly address the theoretical approach used in my dissertation, situating Julia Kristeva in relation to Sylvia Plath's work, as well as to place my work among particular psychoanalytic studies of Plath. 'Initiation' further continues by briefly discussing the way primary and secondary data are utilized in the dissertation and developing the rationale behind juxtaposing biographical material (mostly journals and letters) and creative work, life and art. The chapter finishes by giving an overview of the dissertation organization. The purpose of this dissertation is to discuss the notion of motherhood in Sylvia Plath's work in light of Julia Kristeva's theory of subject formation. For Kristeva, as subjects, we are never the absolute masters of our own experiences, but split subjects divided between unconscious and conscious motivations, inhabiting both nature and culture. The subject is not only split, but is also a 'subject in process' ( sujet en proces); s/he is always on trial, tested in a way against his/her various contexts (Revolution in Poetic Language 22,58,233 ). Kristeva is concerned with discourses that call up a crisis in identity and for her the discourse of motherhood is such a discourse. Motherhood is also characterized by an instability as it takes place at the level of the organism, not the subject : 'It happens but I'm not there' ( 'Motherhood According to Giovanni Bellini' 237 ). The maternal body is a place of splitting; it is more of a filter than anything else - a thoroughfare where nature meets culture ( ibid. 238 ). Neither parturition nor the birth itself are final. They are, as it were, beginnings of something other than themselves - the onset of maternity for the woman, the beginning of life for the child (Robbins 138 ).
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Dale-Jones, Barbara. "An examination of dreams and visions in the novels of Virginia Woolf." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002266.

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This thesis explores the importance of the visionary experience in five novels by Virginia Woolf. In her fiction, Woolf portrays the phenomenal world as constantly changing and she uses the cycles of nature and the passing of time as a terrifying backdrop against which the mutability and transience of human life are set. Faced with the inevitability of change and the fact of mortality, the individual seeks moments of permanence. These stand in opposition to flux and lead to the experience of a visionary intensity. Woolf's presentation of time as a qualitative phenomenon and her stress on the importance of memory as a function which allows for the intermingling of past and present make possible the narrative rendering of moments which contradict perpetual change and the rigours of sequential time. Moments of stillness 'occur in the midst of and in spite of process and allow for individual contact with an experience that defies the relentless progression of time. Necessary for this experience is not only memory but also the imagination, a faculty which has the power to perceive patterns of harmony in the midst of the chaos that characterises the phenomenal realm. Fundamental to Woolf's writing, however, is the acknowledgement that visions are fleeting, as are the glimpses of meaning that emerge from them. Therefore, while several of her novels describe the artistic effort to create a structured order as a defense against change, Woolf uses the artist's struggle as a metaphor for the difficulties attached to describing the enigma that is life. None of her artist figures is able to formulate a construction that either sums up life or provides a permanence of vision. This study presents a chronological examination of the novels in order to demonstrate that the changing forms of Woolf's fiction trace the evolution of a style that accurately portrays both the workings of the human mind and the insubstantial and fragmentary nature of life. The chronology also reveals that her novels develop in terms of their presentations of the visionary experience. Woolf's final novel incorporates into its central vision the paradoxical fact of the permanence of time's progression and acknowledges that, beyond the individually mutable life, is a continuum that links pre-history to the future. This notion, which is explored in part in the earlier novels, but developed completely in Between the Acts, suggests that consolation can be found in the greater cycles of existence despite the fact of individual mortality.
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Books on the topic "1941-1996 Criticism and interpretation"

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Møller, Arvid. Roar Wold: Bilder : 1941-1996. Oslo: Grøndahl Dreyer, 1996.

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Museo Nacional Centro de Arte Reina Sofía., ed. Gerardo Rueda: Exposición retrospectiva, 1941-1996. Madrid: Museo Nacional Centro de Arte Reina Sofia, 2001.

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Anagnōstakēs, Manolēs. Los poemas, 1941-1971. Madrid: Clásicas, 1996.

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Vidal, Cecília. Xavier Nogués, 1873-1941. Barcelona: Àmbit, 2010.

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Alekseĭ I︠A︡vlenskiĭ: 1865-1941. Moskva: Iskusstvo--XXI vek, 2012.

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Michael, Krois John, ed. Goethe-Vorlesungen: Der junge Goethe, Göteborg 1940-1941 : Goethe's geistige Leistung, Lund 1941 ... Hamburg: F. Meiner, 2003.

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Vr̥ṣabhēndrasvāmi, S. M. Taragatigaḷalli Kuvempu, taulanika kāvyamimāmse, 1941-1942. Maisūru: Pustaka Prakāśana, 2004.

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Todić, Milanka. Radeta Stanković, 1905-1996. Beograd: Narodni muzej Beograd, Fakultet primenjenih umetnosti i dizajna, 1998.

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Guccione, Piero. Guccione: Pastelli, 1974-1996. Milano: Electa, 1997.

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Jappe, Georg. Beuys Packen: Dokumente 1968-1996. Regensburg: Lindinger + Schmid, 1996.

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Book chapters on the topic "1941-1996 Criticism and interpretation"

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Whitehead, Mark, Rhys Jones, and Martin Jones. "Seeing Double: Thinking about Natures and States." In The Nature of the State. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199271894.003.0009.

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Abstract:
This chapter is about how we think about states, natures, and the relationships between them. Despite this book’s assertion that an understanding of the relations between states and natures is vital for any interpretation of contemporary political life or ecological existence, it is important to recognize the growing sense of antipathy towards theories of the state within work on nature. This antipathy is based on two broad critiques of state theory—one epistemological and the other ontological. At an epistemological level, challenges to work on the state can perhaps best be understood in relation to the consistent tendency of certain strands of political theory to use the definite article when referring to ‘the’ state. Reference to ‘the’ state, however innocently deployed, implicitly suggests a clearly designated, singular entity of government. But it is precisely this view of states as sovereign, territorially autonomous containers of political life that has led to a concerted wave of theoretical criticism. The reification of a definitive vision of the state has tended to create a very narrow view of the state within certain strands of contemporary political theory. It is in this context that Rose and Miller (1992) argue that the state is nothing more than a ‘mythical abstraction’ (see Chapter 1), or an attempt to simplify the complex networks and practices through which governmental power is realized into narrowly conceived, centralized visions of authority. Consequently, to many writing within what could broadly be defined as a Foucauldian school (Hobbes 1996: 82) of political theory, notions of the state are anathema to the careful and systematic study of the governmental technologies, modes of calculation, and institutional procedures through which socio-political power is realized. At an ontological level, it is argued that even if vestiges of the mythical abstractions (or ‘fantastic topologies’) associated with state theory persist, the power of states to shape the political, economic, and social worlds has been seriously undermined. Much of the purported reduction in the state’s sovereign power has been associated with the rise of globalization and the associated socio-ecological relations and transactions that now routinely traverse national territories.
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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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