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Journal articles on the topic "De Man, Paul Criticism and interpretation"
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Savin, Alexey E. "Origins of the Interpretation and Criticism of Philosophical Foundations of Leninism in Western Marxism." Vestnik Tomskogo gosudarstvennogo universiteta, no. 458 (2020): 79–84. http://dx.doi.org/10.17223/15617793/458/9.
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The aim of the article is to discover the nature of the widespread criticism of Leninism in Western countries in the “left communism” or “communism of the Soviets” (Raetekommunismus), which arose in Germany, Holland, and Denmark in the 1920s and 1930s. To understand the general lines of the criticism of the philosophy of Leninism the author analyzes the ideas presented in the work Lenin as Philosopher by Anton Pannekoek, one of the greatest thinkers and politicians of the “communism of the Soviets”. In its philosophical part, the work is devoted to the criticism of Lenin’s main philosophical work Materialism and Empirio-Criticism. The author also takes into account the articles devoted to this criticism by Karl Korsch and Paul Mattik, other founders of “communism of the Soviets”. The significance of these works is determined by the fact that they constitute the philosophical foundation of contemporary Western “Marxist anti-Leninism”. The author reveals the political presuppositions and the political background of the polemic about the philosophical foundations of Leninism. The background is a polemic about the significance of the Russian revolution and the principles of building the Bolshevik party for the rest of the world and especially for Western countries and their Communist parties. The philosophical polemic with Leninism grows out of a doubt about the universal significance of the experience of the Russian revolution. In particular, Pannekoek and Korsch put forward the thesis of the bourgeois-democratic, not socialist character of the Russian revolution. From this thesis, they conclude that the theoretical basis of the Russian revolution is also of a bourgeois character, i.e. the Russian revolution is based on the ideas of the Enlightenment. The philosophical foundation of the Enlightenment is natural-scientific materialism, not historical materialism, i.e. not Marxism. The article demonstrates the genesis of the concept of Leninism as (1) an anti-democratic tendency in the contemporary liberation movement, (2) an instrument for legitimizing the repressive practices of the bureaucracy in the workers’ parties and in the “catching-up” states of organized capitalism, (3) a naturalistic mishmash of natural-scientific and historical materialism, ultimately suppressing and emasculating the historicity of Marxist thought. The author reveals how this concept was transmitted to tmodern Western left-wing thought through the Frankfurt school, and especially through Marcuse’s work Soviet Marxism (1958), which for many years became the most popular theoretical source for the Marxist criticism of Soviet dialectical materialism in the Western left. Nowadays, this interpretation functions in it in a sedimented form as self-evidence (Selbstverstaendlichkeit) and automatism.
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Levchenko, Viktor. "LEONARDO DA VINCI IN THE PHENOMENOLOGICAL PERCEPTION OF PAUL VALERY." Doxa, no. 2(36) (March 25, 2022): 179–86. http://dx.doi.org/10.18524/2410-2601.2021.2(36).246818.
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The article is devoted to the semantic aspects of revealing the genius of the creator. The author turns to the version of the interpretation of Leonardo da Vinci’s activity, which was proposed by the outstanding French poet and art critic Paul Valery. This version is not a biographical description of the life of an Italian artist and intellectual, but presents a detailed picture of intellectual life, a generalization of the methods assumed by any discovery, both artistic and natural. The main themes of Valery’s essay are the sources of creativity that give rise to his method and system. For Valery, the method or system of Leonardo da Vinci that he demonstrated are based on the foundations of the criticism and the attitude to the world of natural attitude by Husserl. It is important for Valery to show the practice of thinking or the intellectual mechanism that presents Leonardo as a universal genius.
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Vesić, Violeta M. "New Historicism: Text and Context." Issues in Ethnology and Anthropology 10, no. 1 (February 28, 2016): 187. http://dx.doi.org/10.21301/eap.v10.i1.10.
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During most of the twentieth century history was seen as a phenomenon outside of literature that guaranteed the veracity of literary interpretation. History was unique and it functioned as a basis for reading literary works. During the seventies of the twentieth century there occurred a change of attitude towards history in American literary theory, and there appeared a new theoretical approach which soon became known as New Historicism. Since its inception, New Historicism has been identified with the study of Renaissance and Romanticism, but nowadays it has been increasingly involved in other literary trends. Although there are great differences in the arguments and practices at various representatives of this school, New Historicism has clearly recognizable features and many new historicists will agree with the statement of Walter Cohen that New Historicism, when it appeared in the eighties, represented something quite new in reference to the studies of theory, criticism and history (Cohen 1987, 33). Theoretical connection with Bakhtin, Foucault and Marx is clear, as well as a kind of uneasy tie with deconstruction and the work of Paul de Man. At the center of this approach is a renewed interest in the study of literary works in the light of historical and political circumstances in which they were created. Foucault encouraged readers to begin to move literary texts and to link them with discourses and representations that are not literary, as well as to examine the sociological aspects of the texts in order to take part in the social struggles of today.The study of literary works using New Historicism is the study of politics, history, culture and circumstances in which these works were created. With regard to one of the main fact which is located in the center of the criticism, that history cannot be viewed objectively and that reality can only be understood through a cultural context that reveals the work, re-reading and interpretation of literature is not just re-reading of texts that are already well known, but reading in a completely new way.
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Belov, Vladimir N., Aleksandra Yu Berdnikova, and Yulia G. Karagod. "Immanuel Kant and Herman Cohen’s philosophy of religion." Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 37, no. 1 (2021): 30–40. http://dx.doi.org/10.21638/spbu17.2021.103.
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The article analyzes the main characteristic features of the philosophy of religion of the founder of the Marburg school of neo-Kantianism Hermann Cohen. Special attention is paid to Cohen’s criticism and reinterpretation of Kant’s “practical philosophy” from the point of view of the philosophy of religion: Cohen supplements and expands Kant’s provisions on moral law and moral duty, interpreting them as divine commandments. The authors emphasize the fundamental importance for Cohen of the “internal similarity” between Kant’s ethical teaching and the main provisions of Judaism. The sources of Kant’s own ideas about the Jewish tradition are shown, which include the work of Moses Mendelssohn “Jerusalem” and the “Theologicalpolitical treatise” by Baruch Spinoza. Cohen’s criticism of these works is analyzed an much attention is paid to the consideration of Cohen’s attitude to Spinoza’s philosophical legacy in general. The interpretation of the postulates of Judaism by Cohen (and their “inner kinship” with Kant’s moral philosophy) in ethical, logical, and political contexts is presented. Cohen’s understanding of such religious-philosophical and doctrinal phenomena as law, grace, Revelation, teaching, the Torah, messianism, freedom, the Old Testament and the New Testament, etc. is provided and analyzed. The main points of Cohen’s religious teaching as “ethical monotheism” are considered; in particular, the authors analyze his understanding of the idea of God as “the only one”, which is highlighted in the works of Paul Natorp. It is concluded that Cohen’s philosophy of religion, which is based on the postulates of Judaism as well as Kant’s “practical philosophy”, could be characterized by the terms “ethical monotheism”, “universalism” and “humanism”.
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Mousa, Keyhanee. "Muhammad(S) And Paul On Jesus: A Comparative Study Of Two Sacred Pillars." West East Journal of Social Sciences 8, no. 2 (August 15, 2019): 164–90. http://dx.doi.org/10.36739/wejss.2019.v8.i2.26.
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This comparative study of Islam and Christianity struggled to reveal the mutual meaningful expressions of God, the creator. The main question to which the article tried to answer is: Who is Jesus Christ for Paul and Muhammad(s)? The significance of countering to this question is being revealed much more through the contemporary issues of hate, and delusions that are influencing all believers in one God. Questioning the human nature and the Lordship of Christ looks like a barrier in dialogues between Islam and Christianity. So, as its primary purpose, Jesus, as the Lord from Paul’s perspective and Isa al-Masih, the son of Maryam from Muhammad’s(s) viewpoint, will be compared through different methods. Like the spiritual interpretation of Joel S. Goldsmith, in which the monotheistic presupposition (worshipping only one God), will implant the axial direction of the examination of the Bible and the Quran. Moreover, through historical criticism, the article will try to clarify the origins of faith in Pauline Christology compare to the doctrine of Tawhid from the Quran and the origin of the Quranic accounts of Christ. Also, through a feminist analysis, the essay will have a critical look at maleness of titles of God in Christianity. In this way, the historical analysis will display the urge of accepting the Quran as the Incarnated word of God for Islam and the importance of Paul as the best witness for Christ. By spiritual interpretation, the meaning of the “form” and the “face” of God in Christianity, and “face”, and the “Rope” of Allah and Al-Rahman in the Quran will validate a mutual notion of divinity for all believers. Also, through the feminist approach framed in the text of the Bible and the Quran, this research will spot the sexless status of the Incarnated Christ after the resurrection, the one who is the Lord of all now, even if is being praised in the new name of Al-Rahman. Thus, in conclusion, this article will suggest mutual findings in Quranic and Biblical Christology and will be ended by spotting the incarnation of the word of God, as the best point of starting a fruitful dialogue between Islam and Christianity.
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Bering Solten, Therese. "Når troen får øjne. En studie i Grundtvigs salmer." Grundtvig-Studier 65, no. 1 (May 29, 2015): 177–200. http://dx.doi.org/10.7146/grs.v65i1.20952.
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Når troen får øjne. En studie i Grundtvigs salmerTherese Bering SoltenWhen Faith Gets Eyes – a Study in Grundtvig’s HymnsThis article summarizes main points from Therese Bering Solten’s PhD thesis about how, through the use of hermeneutics and genre criticism, Grundtvig’s hymns can be read as poetic theology. The hymns work thematicallythrough the relationship between the visible and the invisible, conceptions residing in a continuum stretching between the concrete, sensory images and abstract, intelligible concepts. How hymns operate is determined by how faith is depicted in images and ideas. As part of an effort to understand faith cognition or vision, Solten interprets the hymns as descriptions of what or how the eyes of faith see. The author assumes that this effort is not exclusive to the content of hymns; it is a matter of how hymns affect readers (singers) and therefore how hymns can be described as texts. To establish a methodological basis, Solten refers to recent genre theory and literary theory and Paul Ricoeur’s philosophical hermeneutics. Poetic theology provides a lens for seeing that even though the hymn text’s matter and form are two separate aspects of the text, the hymn exists as an indivisible whole. Solten provides a series of analytical examples from the thesis to illustrate further how hymns function and how they should not be translated only to discover their embedded theology. The overall aim of hymn interpretation, however, is to demonstrate the ways in which the reading of these texts as poetry can provide theological insights.
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Gurevich, Pavel. "Paul Ricoeur about Man." Philosophical anthropology 7, no. 1 (2021): 6–23. http://dx.doi.org/10.21146/2414-3715-2021-7-1-6-23.
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The article analyzes a wide range of philosophical and anthropological subjects in the works of the French philosopher Paul Ricoeur. Rejecting the idea of system-creation, Ricoeur creates a generalized image of a person in the form of polemical, sometimes marginal notes in relation to other European thinkers. His works reveal an original view on the problems of human subjectivity, Ego, personality, selfness, identity, etc. The author of the article shows that all the variety of anthropological topics in Ricoeur can be clarified through the phenomenon of human subjectivity, which the philosopher connects with spirituality, which is born in pre-reflexive forms of life and culture. Special attention is paid to the consideration of the personality as an individuality of a special kind and to the process of identification of the person as an individual. P. Ricoeur managed to give a new interpretation to the concept of identity through a complex dialectic of internal and external self-identity.
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Marshall, Donald G., and Daniel T. O'Hara. "The Romance of Interpretation: Visionary Criticism from Pater to De Man." Comparative Literature 41, no. 2 (1989): 204. http://dx.doi.org/10.2307/1770986.
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Jackson, Virginia. "Historical Poetics and the Dream of Interpretation: A Response to Paul Fry." Modern Language Quarterly 81, no. 3 (September 1, 2020): 289–318. http://dx.doi.org/10.1215/00267929-8351520.
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Abstract As a response to Paul Fry’s essay “The New Metacriticisms and the Fate of Interpretation,” this essay asks a few questions: (1) Isn’t “metacriticism” what the twentieth century meant by literary criticism? (2) Why is modern literary criticism so defensive when it comes to lyric poetry? (3) What happens when the historical situation of a lyric literalizes apostrophic address? The answer to the first of these questions is yes. The answer to the second question depends on the critic, but this essay points out that defenses of lyric began in the early nineteenth century, so modern lyric theory continues a long tradition. The white male supremacist foundation of those defenses informs definitions of lyric poetry as utterance overheard, as solitary self-address. Fry is right that historical poetics attempts to rock that two-hundred-year-old foundation. The answer to the third question is that many poets have also rocked that foundation over those two centuries. The essay ends by interpreting an apostrophic ode written and published by George Moses Horton in 1828. Horton’s enslavement in North Carolina literalized the figurative situation of address that has come to define lyric reading.
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Gordon, Paul. "Lord Jim,Paul de Man, and the debate between deconstructive and humanistic criticism." Lit: Literature Interpretation Theory 9, no. 1 (January 1998): 65–84. http://dx.doi.org/10.1080/10436929808580212.
Full textDissertations / Theses on the topic "De Man, Paul Criticism and interpretation"
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Neithamer, Julie, and Julie Neithamer. "Paul Taffanel: the man and his work." Diss., The University of Arizona, 1989. http://hdl.handle.net/10150/624858.
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To most flutists, Paul Taffanel is known for his Method and as the "Father" of the French school of flute playing. Considering the import of this title, little research has been done on him. It is the goal of this researcher to present a more complete picture of Taffanel than has previously been seen.
To understand the significance of some of the things Taffanel did, it is necessary to know what study at the Paris Conservatoire was like. Lessons were given in classes in which all levels of playing were represented. There was no individual study, and until 1945, there was only one flute class. The number in the class was usually 12, and entry into it was by competitive audition. These auditions were held every October, and the Concours (public exam) was held each July. Requirements for the Concours included a set piece for each instrument (called Morceau de Concours) and a piece of accompanied sightreading.
The jury was chaired by the Director of the Conservatoire, with both internal and external jurors. Taffanel sat in on at least two of these juries before he became professor of flute at the Conservatoire. The awards given were First or Second Prize or First or Second Certificate of Merit. A prize means playing against a certain standard, not competition between individual candidates. As a result, more than one First Prize could be awarded, or it could be withheld altogether. A First Prize was really necessary for a successful musical career.
In Paris, there were many theatre and concert orchestras. There were also salons in which to play chamber music, but the best positions available were in the Paris Opéra and Opéra- Comique. These were government subsidised and had full -time employment and state pension on retirement. There was also the Société des Concerts du Conservatoire which gave annual Sunday concerts between November and April. Membership into this orchestra was by election. The most successful flutist therefore was one who had gained a First Prize and held positions at the Paris Opera and Société des Concerts.
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Cobill, Brenda. "A study of the relationship between Paul Cézanne and Paul Gauguin." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22576.
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This thesis provides a critical analysis of the literature concerning the relationship, both artistic and personal, between Paul Cezanne and Paul Gauguin. It proceeds from the popular belief that Cezanne harbored an excessive amount of ill will towards Gauguin. Examination of the sources upon which this belief is based prove them to be controversial and conflicting, yet the myth of Cezanne's animosity towards Gauguin is still widely accepted, effectively obscuring the more positive, creative aspect of their interaction. In the assessment of this relationship, Camille Pissarro emerges as a pivotal figure because of his close ties to both artists. It will be shown that Gauguin found in Cezanne's art concepts which were germane to his own artistic practices and theoretical directions. The later Symbolist interpretation of Cezanne reflects the dissemination of Gauguin's teachings about the artist and reveals that, in some measure, Gauguin was responsible for the critical acclaim Cezanne was to receive in his final years.
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Jones-Katz, Gregory Robert. "The Paul de Man Affair: The Presence of the Past." Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/Jones-KatzGR2008.pdf.
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Towsey, David Jonathan. "Criticism as poetry in the later writings of Paul de Man." Thesis, University of Sussex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390817.
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In general terms, the aim of this thesis is to demonstrate that Paul de Man's critical, discursive prose - particularly in the later essays - is of sufficient density and complexity that its linguistic operation works against its avowed methodological principles (or exploits certain interesting discrepancies in them) to become itself literary. However, to claim this is also to question the definition and possibility of 'literature', both in applying it as a descriptive term to de Man's writings and to the texts he reads. The first chapter asks the question of what literature is through de Man's theoretical pronouncements, and suggests that the answer may lie within a broadly Kantian philosophical orientation, conditioned by his admission of the need for a metaphysical imperative in critical speculation. The second chapter begins to develop, through a close reading of its operation in language, the notion of de Manian literature as a Bildung-principle: the education by mastery of poetic consciousness against the Being of Nature. In arguing this, it claims that, as the romantic figure of the Beautiful Soul bums with its own vacancy, emptying itself in order to shine more brightly with that which it does not possess, de Man is filled with his natural precursor Coleridge despite his disavowal of him. To avoid the blank invisibility this entails, de Man's poetic meaning must forestall its own fulfilment, a disconvergence brought about by temporally anticipating its own articulations. In the third chapter, some of the consequences of this insight are reformulated through readings of de Man's texts in terms of a Freudian hermeneutics of Nachtraglichkeit, a Schillerian theory of art and a Rousseavian articulation of pleasure and pain. The conclusion suggests that the common, underlying principle of all of these conjunctions - the metaphysical with the transcendental, repletion with negation, and excess with limitation - can be defined as a form of romantic irony, or alternatively, aesthetic monstrosity.
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Falkowska, Janina. "Dialogism in the political films of Andrzej Wajda : Man of Marble, Man of Iron and Danton." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=41116.
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This thesis is an attempt at an analysis of Andrzej Wajda's political films, Man of Marble, Man of Iron and Danton in a broad cultural and historical context. The manuscript is divided into five chapters. The first chapter, "The Political Film of Andrzej Wajda--Issues of Methodology", presents a theoretical basis for the discussion of political film. Bakhtin's dialogism complemented by linguistic pragmatics provides the methodology used in the thesis to illustrate the dialogical process of meaning formation in political films of Andrzej Wajda. Chapter two discusses Wajda as the carrier of the political message, while chapters three, four and five, respectively, contain the historical, the dramatis personae and the aesthetic discourses in the films under study.
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Davies, James P. "Paul among the apocalypses? : an evaluation of the 'apocalyptic Paul' in the context of Jewish and Christian apocalyptic literature." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/6945.
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One of the most lively and enduring debates in New Testament studies is the question of the significance of ‘apocalyptic' thought in Paul. This has recently given birth to a group of scholars, with a common theological genealogy, who share a concern to emphasise the ‘apocalyptic' nature of Paul's gospel. Leading figures of this group are J. Louis Martyn, Martinus de Boer, Beverly Gaventa and Douglas Campbell. The work of this group has not been received without criticism, drawing fire from various quarters. However, what is often lacking (on both sides) is detailed engagement with the texts of the Jewish and Christian apocalypses. This dissertation attempts to evaluate the ‘apocalyptic Paul' movement through an examination of its major theological emphases in the light of the Jewish apocalypses 1 Enoch, 4 Ezra, 2 Baruch and the Christian book of Revelation. Placing Paul in this literary and historical context confirms his place as an apocalyptic thinker, but raises important questions about how this is construed in these recent approaches. Each chapter will address one of four interrelated themes: epistemology, eschatology, cosmology and soteriology. The study intends to suggest that the ‘apocalyptic Paul' movement is characterised at key points in each area by potentially false dichotomies, strict dualisms which unnecessarily screen out what Paul's apocalyptic thought affirms.
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David, Lucie. "La fortune critique de Paul Morin, 1908-1958 /." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56946.
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The poetical works of Paul Morin are not very well known, and are rarely ever read today. And yet, he was the successor of Emile Nelligan and Albert Lozeau. Paul Morin is one of the first French Canadians to publish his works in France and it was said of his collection of poems Le Paon d'email that it was the spark that ignited the famous "Querelle des regionalistes et des exotiques" in French Canada. Unfortunately, the negative reactions of some of his first critics, were to determine for a long time those of future generations.This thesis focuses on the critical reception of Paul Morin's first two published books: Le Paon d'email (1911) and Poemes de cendre et d'or (1922), and attempts as well to retrace their critical fortunes up until the beginning of the sixties.
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Beausoleil, Jean-Marc. "Etude du blason corporel chez Paul-Marie Lapointe." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24075.
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The purpose of this thesis is to demonstrate that the "blason corporel" is a useful tool for understanding Paul-Marie Lapointe's poetry. Lapointe himself recognises that the variations of the "blason" that we can find in his poems are not the result of formal experimentation, but of a vision of the universe. The "poete quebecois" is seeking the unchanging: the human body and its place in the cosmos are two of the things that do not change, and thus, they are an important part of Lapointe's poetry.In our introduction, we define the "blason corporel" as it emerged in France, during the Renaissance. We use the concept of the eternal return, as developed by Neitzsche, to try and understand how the same vision of the universe can perpetuate itself through the centuries. In our first chapter, we study the presence of the "blason" in Bouche rouge. In our second chapter, we examine the presence of the "blasons" in all of Lapointe's works. To do so, we use the rhetoric of figures, which enables us to evaluate the effect of the presence of the "blason" on the form. We come to the conclusion that the "blason" are structured by an accumulation of metaphors. This figure, the metaphor, abolishes all limits ("un decloisonnement") which brings us, in our conclusion, to concepts related to psychoanalysis and the study of myths.
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Germiquet, Edouard Ariste. "Paul and Barnabas in Lystra (Acts 14:8-20): the contextualization of the Gospel in a Graeco-Roman city." Thesis, Rhodes University, 1992. http://hdl.handle.net/10962/d1018213.
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This thesis will investigate the extensive Graeco-Roman characteristics of the Lystra speech and in so doing convey some clarity in the otherwise widely differing opinions held about it. This will be achieved by showing that Lystra was a Hellenistic city of some importance with a varied population. It will be argued that the initial reaction of the Lystrians to the miraculous healing of the cripple is to be understood as representing typical Graeco-Roman notions. This will include Luke's use of a legend which not only adds local colouring to the narrative but also introduces Graeco-Roman themes such as the blurring of the distinction between humans and gods and the custom of sacrifice. This contextualization immediately portrays the Graeco-Roman nature of the Lystrians' behaviour and attitudes. In addition to these themes it will be argued that the Lystrians are shown to being reliant on secondary notions of God, which when exposed to the proclamation of the apostles will prove to be inadequate. It will also be argued that the speech of the apostles is structured in a typically Graeco-Roman rhetorical form, where the errors are first exposed before the truth is presented. In conjunction with this structure it will be argued that the philosophical concept of which Dibelius has shown to be clearly presupposed in the Areopagus speech, is not only present in the Lystra speech but forms the philosophical basis on which it is structured. This concept explains the insistence by the apostles that they are human and that God has no need of such worthless things as sacrifices. It also explains the presentation of God's activity in creation and providence as an antithesis to a god who is in need. The Graeco-Roman aspects are brought to a close with the discussion of idea that an awareness of God does not depend on secondary notions acquired from legends or customs but that the truth is grasped through a process of reflection on creation and providence. This is an important notion in the speech for it exposes the Lystrians as being in need of a reorientation of their beliefs in God, away from those which are secondary to those which are primary and compatible with the truth.
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Léger, Ariane. "Le maître à écrire selon Valéry, Pessoa et Jaccottet /." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115622.
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The main objective of this study is to understand how Valery, Pessoa and Jaccottet created or recreated the figure of the master. This figure has truly made its entry into the literary scene in the second half of the nineteenth century, and it contributed to impose a profane and more egalitarian vision of writing. In the writing of the three authors studied, the master is still seen as a strategy to develop a concept of creation, since it allows the writers to define their poetic. It is therefore a matter of maitres a penser (literally "thinking masters") or, better yet, maitres a ecrire ("writing masters").For Valery, the desire to make Mallarme his master is best explained by his search for mastery. Even if he is eager to understand what makes Mallarme an exceptional creator, Valery's quest is hindered by Mallarme's refusal to explain his poetic. This resistance seems to encourage Valery to make the creative act a major concern of his work.
By coming up with a "non-existent coterie" made up of imaginary writers, and by recognizing one of them as his own master, Pessoa hopes to fill the gaps in his literary filiation. In the concert of voices that compose his work, it is yet the master himself which undermines the very legitimacy of the master, and that is why Pessoa finally gets rid of his invention.
Finally, Jaccottet creates his masters for the learning they could provide to him: in Jaccottet's unique story, the character of the master fails, allowing the poet to take his distance from assumptions related with the romantic vision of creation; then, a "good master" whose agony is described by poems becomes a model whose wisdom is inseparable from a kind of ignorance.
The presence of the master generates a story elaborated from the writings of these writers: the development of their poetic requires not only the creation of a master figure, but also its removal. Ultimately, the maitre a ecrire is not only one who induces writing in a unique way, but also the one which should be written in order to succeed.
Books on the topic "De Man, Paul Criticism and interpretation"
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Heyer, C. J. den. Paul: A man of two worlds. London: SCM Press, 2000.
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Los hijos de la luna: Juan José Saer, Jacques Derrida, Paul de Man. Buenos Aires: De los Cuatro Vientos Editorial, 2008.
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Doncel, Alicia. Los hijos de la luna: Juan José Saer, Jacques Derrida, Paul de Man. Buenos Aires: De los Cuatro Vientos Editorial, 2008.
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Claire, Colebrook, and Miller, J. Hillis (Joseph Hillis), 1928-, eds. Theory and the disappearing future: On De Man on Benjamin. London: Routledge, 2011.
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Woman and man in Paul: Overcoming a misunderstanding. Collegeville, Minn: Liturgical Press, 1996.
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Lindsay, Waters, and Godzich Wlad, eds. Reading de Man reading. Minneapolis: University of Minnesota Press, 1989.
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Dans la main de personne: Essai sur Paul Celan. Paris: Cerf, 1986.
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Noël, Bernard. Paul Trajman, ou, la main qui pense: Suivi de Paul Trajman, or, the thinking hand. Paris: Ypsilon Éditeur, 2010.
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Meet St. Paul: An introduction to the man, his achievement, and his correspondence. Wilton, Conn: Morehouse Pub., 1989.
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Max Ernst und Paul Delvaux: Bildstruktur und Erzählmodi in den Bildern zwischen 1938 und 1960. Frankfurt am Main: P. Lang, 1988.
Find full textBook chapters on the topic "De Man, Paul Criticism and interpretation"
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"Paul de Man." In Modern Criticism and Theory, 449–64. Routledge, 2014. http://dx.doi.org/10.4324/9781315835488-34.
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"CHAPTER SIX. PAUL DE MAN: NIETZSCHE'S TEACHER." In The Romance of Interpretation, 205–36. New York Chichester, West Sussex: Columbia University Press, 1985. http://dx.doi.org/10.7312/ohar94122-008.
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"5. Paul de Man and the Triumph of Falling." In The Ethics of Criticism, 98–123. Ithaca, NY: Cornell University Press, 2018. http://dx.doi.org/10.7591/9781501721410-006.
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Graef, Ortwin de. "7. The Yale Critics? J. Hillis Miller, Geoffrey Hartman, Harold Bloom, Paul de Man." In Modern North American Criticism and Theory, 40–49. Edinburgh University Press, 2006. http://dx.doi.org/10.1515/9780748626786-008.
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Gaudern, Mia. "Paul Muldoon the ‘Etymological Junkie’." In The Etymological Poetry of W. H. Auden, J. H. Prynne, and Paul Muldoon, 22–47. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198850458.003.0002.
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‘Who knew forensic derives from forum?’, Muldoon asks in a recently published poem. His compulsive etymologising challenges audiences to see both the relevance and the irrelevance of etymology to interpretation, thereby accepting that they are the ultimate arbiters of Muldoon’s linguistic forensics. Following an analysis of how audience responses to etymologies are cued in his criticism, this chapter reflects on the connection that seems to exist between etymologising and elegising in Muldoon’s poetry to characterise the effect of what Paula Blank calls the ‘“etymological moment” in contemporary critical practice’ when it occurs in the poetry itself.
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Belsey, Alex, and Alex Belsey. "Art and the Artist." In Image of a Man, 151–206. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620290.003.0006.
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This chapter explores how Keith Vaughan overcame his disillusionment in the early 1940s and revived his hopes of being a painter through engagements with art theory that enabled him to construct through journal-writing an ideal type of the artist that he could emulate. Embracing this conceptualisation, Vaughan enjoyed a post-war period of success, but by the early 1960s was consumed by feelings of self-loathing which he explored in his resurgent journal-writing, resulting in a tumultuous period of unprecedented productivity and restless sexual experimentation. The first section of this chapter reveals how Vaughan constructed his ideal type of the artist during a crucial period in 1943, drawing inspiration from art history, art criticism, and appreciation of Paul Cézanne to laud the necessity of search and struggle to the artist’s mission. The second section describes how Vaughan neglected his journal whilst he enjoyed success in the British art world. The third section re-joins Vaughan in 1962, finding him profoundly dissatisfied with his life and work and attempting to re-assert control over both by drawing on sexology and psychoanalysis to make his journal an account of experiments in autoeroticism, subjectivity and sensation that once again reconfigured his conception of art and the artist.
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Deane-Drummond, Celia E. "Paul Ricoeur on Evil." In Shadow Sophia, 38–59. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198843467.003.0003.
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Paul Ricoeur represents an important source in Western culture who refuses to adopt a sharp separation between humanity and the rest of nature, while recognizing the importance of human distinctiveness. This chapter will engage Ricoeur’s works, beginning with Freedom and Nature, where he emphasizes the preconditions for human sin and the distinctions between scientific explanations and philosophical understanding. Another work, Fallible Man, distinguishes between the finite and infinite and describes the preconditions for human sin. Here, Ricoeur takes steps to fill in the gap between what he terms the pathétique of misery and the transcendental. He resists the idea that the source of evil arises directly from animal passions, but presents a more complex argument related to the force of what he terms ‘the fault’. In The Symbolism of Evil, Ricoeur further describes his recognition that the Fall of humanity admits a voluntary quality to specifically human sin; therefore, guilt is distinct from suffering. Ricoeur’s interpretation of the significance and problematic nature of Augustine’s account of the Fall is instructive in this respect. How far is the explicit human propensity for sin also dependent on prior language and symbolic thought? Ricoeur’s thought also frames the discussion that follows as a dialectical relationship between the natural propensity for evil and its voluntary, symbolic/semiotic character.
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Čelkytė, Aistė. "‘The wise man is no true Scotsman’: The Stoics on Human Beauty." In The Stoic Theory of Beauty, 78–100. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474461610.003.0004.
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This chapter is dedicated to the so-called Stoic paradox stating that only the wise man is beautiful, while young, conventionally attractive youths, are not. Plutarch’s testimonial and critique of these views imply that they commit what in contemporary terms is sometimes called the ‘No True Scotsman’ fallacy, that is, an arbitrary redefinition of aesthetic terms. The chapter builds an argument that this criticism is not entirely fair by presenting a more charitable interpretation of these claims. The interpretation involves the notion of aesthetic functionality, that is, the idea that an object’s aesthetic value is determined in reference to the kind of an object it is. This reading of the Stoic wise man paradox is consistent with the central Stoic tenets about virtue and happiness.
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Welborn, Larry L. "Paul between Protagoras and Rancière: “On the basis of equality, … that there may be equality”." In Political Theology on Edge, 149–64. Fordham University Press, 2021. http://dx.doi.org/10.5422/fordham/9780823298112.003.0009.
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Larry Welborn offers a scholarly interpretation of Paul that figures this Apostle, who appears to authorize a certain paradigmatically violent form of Christianity, as a preacher of equality. Drawing on biblical criticism and contemporary philosophy, Welborn uses the French philosopher Jacques Rancière to help argue that Paul affirms an equality of persons amidst the inequality that pervaded the ancient Greek and Roman world. Our own world is becoming increasingly more and more unequal in material and economic terms, and we desperately need more equality, whether we are Christian or not. Welborn reads “Paul Between Protagoras and Rancière” and concludes that Paul may be a significant resource for us today. He argues that particularly in Corinthians Paul extends “the principle of equality” into the sphere of economic relations between Christ believers in a way that empowers the marginalized peoples who were rendered invisible in the Empire, giving them a voice.
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"“There Shall Come Forth a Man”: Reflections on Messianic Ideas in Philo." In Illuminations by Philo of Alexandria: Selected Studies on Interpretation in Philo, Paul and the Revelation of John, 105–27. BRILL, 2021. http://dx.doi.org/10.1163/9789004452787_008.
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