Journal articles on the topic 'Design history, theory and criticism'
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Williams, Joyce. "Design discourse: History/theory/criticism." Journal of Social and Evolutionary Systems 15, no. 3 (January 1992): 327–31. http://dx.doi.org/10.1016/1061-7361(92)90014-5.
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Hatton, Brian. "Exploring architecture as a critical act, questioning relations between design, criticism, history and theory." Architectural Research Quarterly 8, no. 2 (June 2004): 105–8. http://dx.doi.org/10.1017/s1359135504000132.
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This conference, which took place 25–27 November 2004, was held by the Bartlett School of Architecture in association with the Architectural Humanities Research Association (AHRA). Its stated aim was to examine the relationship between critical practice in architecture and architectural criticism, intending to place architecture in an interdisciplinary context with reference to modes of criticism in other disciplines, specifically art criticism, and to explore modes of critical practice in architecture: buildings, drawings and texts. Brian Hatton attended the second day of the conference; his comments on the first day are based on discussions with colleagues and reading of transcripts.
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Adams, Rachel. "What Can A Literary Critic Do? Thoughts on a Universal Design for Criticism." American Literary History 34, no. 1 (February 1, 2022): 9–19. http://dx.doi.org/10.1093/alh/ajab103.
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Abstract This essay expresses discomfort with Matthew Arnold’s description of the critic’s function as seeking out “the best that is known and thought in the world,” favoring instead the more neutral description, “an activity or purpose natural to a thing.” Inspired by the practice of universal design, which seeks to make the environment accessible to a diverse range of bodies and minds, it seeks to define the function of literary criticism in terms of what it can do, as well as a functional literary criticism, one that accommodates the widest possible range of texts, modes of reading, and interpretive practices. Refusing Arnold’s call for disinterest, it insists on a situated criticism that combines theory with personal experience. Because I am interested and because the only critical practice I can imagine for this present is fully interdependent with my nonprofessional life, this essay moves between an account of how literary criticism functions in my work as a teacher and a writer (focusing on the critical activities of formalism, cultural analysis, and syllabi-building), and how it might function to account for my neurodiverse son’s rebellious, creative, and total living through and with narrative. [T]his essay moves between an account of how literary criticism functions in my work as a teacher and a writer, and [that of] my neurodiverse son’s rebellious, creative, and total living through and with narrative.
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Liu, Qi, Huagang Yang, and Yiwei Zhang. "Re-criticism of Geomantic Omen in Modern Design from the Perspective of Data Analysis." ITM Web of Conferences 25 (2019): 03004. http://dx.doi.org/10.1051/itmconf/20192503004.
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Geomantic omen is both strange and familiar to the contemporary people. It is not only a part of the traditional Chinese culture, but also contains the contradictions and disputes in Chinese long history of thought, practice and theory. This article is based on the context of modern design, discuss the reason of the Geomantic omen cannot be the key factors of modern design from three perspectives, including research trend, discipline development, practice creation. Through the summary of data, typical cases, and geomantic theory, it is believed that modern geomantic research should be based on rational evaluation and theoretical research. Except that, geomancy can be study not only by using modern science and technology, but also through transcending the ideological level. Finally, the idea of the future development of geomantic is set up for the re-thinking and re-exploration of the contemporary research.
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Dale, James. "‘How can you say to me I am a King?’: New Historicism and its (Re)interpretations of the Design of Kingly Figures in Shakespeare’s History Plays." Multicultural Shakespeare: Translation, Appropriation and Performance 23, no. 38 (June 30, 2021): 143–58. http://dx.doi.org/10.18778/2083-8530.23.09.
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The 1980’s saw the emergence of New Historicist criticism, particularly through Stephen Greenblatt’s work. Its legacy remains influential, particularly on Shakespearean Studies. I wish to outline New Historicist methodological insights, comment on some of its criticisms and provide analytical comments on the changing approach to historical plays, asking “What has New Historicism brought into our understanding of historical plays and the way(s) of designing kingly power?” Examining Shakespeare’s second tetralogy, I will review Greenblatt’s contention that these plays largely focus on kingly power and its relationship to “subversion” and “containment”. I intend to focus on aspects of the plays that I believe have not received enough attention through New Historicism; particularly the design of the kingly figures.
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Vergunova, Natalia. "The concept of structuralism in context of historical development of art and design." Culturology Ideas, no. 19 (1'2021) (2020): 46–54. http://dx.doi.org/10.37627/2311-9489-19-2021-1.46-54.
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The article discusses theoretical foundations for the emergence and formation of structuralism in Western European art criticism in the 1930-1940s, namely, the theory of representatives of the Viennese school. It considers the main concepts and terms of the concept of structuralism formed by theorists of that time in the context of the development of art history. An attempt to project the ideas of structuralism into the sphere of design is made with the involvement of the research by French theorists Claude Levi-Strauss and Roland Barthes. As a result, the main theoretical provisions of structuralism as a modeling activity and a structural person as a creator of meanings were correlated with the design field and the professional duties of a designer. Considering certain structuralism ideas in the works of French researchers in the context of the modern process of creating an industrial product, the concept of structuralism was supplemented and its certain predictability for the development of design in general was revealed.
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Berryman, Jim. "Art as document: on conceptual art and documentation." Journal of Documentation 74, no. 6 (October 8, 2018): 1149–61. http://dx.doi.org/10.1108/jd-01-2018-0010.
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Purpose The purpose of this paper is to bring the work of Seth Siegelaub (1941–2013) to the attention of document studies. Siegelaub was a pioneer of the conceptual art movement in New York in the 1960s, active as an Art Dealer, Curator and Publisher. He is remembered by art history for his exhibition catalogues, which provided a material base for intangible works of art. Design/methodology/approach This paper uses a comparative approach to examine the documents of conceptual art, especially the exhibition catalogues produced by Siegelaub between 1968 and 1972. Drawing on literature from document theory and art history and criticism, it examines several of Siegelaub’s key exhibition catalogues and books. Findings Siegelaub’s theories of information have much in common with the documentalist tradition. Siegelaub’s work is important, not just for its potential to contribute to the literature of document theory. It also provides a point of dialogue between art history and information studies. Originality/value To date, the common ground between art and documentation has been explored almost exclusively from the perspective of art history. This paper is among the first to examine conceptual art from the perspective of document theory. It demonstrates potential for cross-disciplinary collaboration.
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Vacura, Miroslav. "Lacey's Concept of Value-Free Science." Teorie vědy / Theory of Science 40, no. 2 (March 27, 2019): 211–29. http://dx.doi.org/10.46938/tv.2018.413.
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Many philosophers of science have maintained that science should be value-free; still others believe that such ideal is neither achievable nor desirable for science. Hugh Lacey is presently one of the main supporters of the idea of value-free science and his theory is probably the most debated today and attracts the most attention and criticism. Therefore, in this text, I will primarily analyze his theory of value-free science. After briefly defining the notion of value I highlight which strategy Lacey chooses to lay a firm foundation for the concept of science without value, with his starting point being the differentiation between cognitive and non-cognitive values. Then I describe three basic characteristics of Lacey’s value-free science: impartiality, neutrality, and autonomy. However, the overall plan and design of his project, together with some concrete steps he takes, are not without problems in our view. I will try to point out some of these problematic issues and provide brief suggestions for alleviating them.
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Muldoon, Jeffrey. "The Hawthorne studies: an analysis of critical perspectives, 1936-1958." Journal of Management History 23, no. 1 (January 9, 2017): 74–94. http://dx.doi.org/10.1108/jmh-09-2016-0052.
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Purpose The purpose of this paper was to analyse the academic context of the Hawthorne studies from 1936. More specifically, great attention was paid towards those articles that were critical of the Hawthorne studies. This study aimed to analyse why the Hawthorne studies were so criticized during the time period. Design/methodology/approach The author analysed various critical articles/books from the time period. The author developed the sample through the use of Landsberger’s Hawthorne Revisited. The author used one of the first critical articles, Daniel Bell’s, as a means to analyse the critics. In addition, secondary literature was used to place the articles in context. Findings The author found that the majority of the critics were sociologists; these criticisms reflected larger debates in sociology in terms of theory, method and ethics of research. They reflected the great changes that occurred in sociology during the time period, as opposed to industrial/organizational psychology, for example, where there was little criticism at the time. Originality/value The purpose of this study was to continue the work of Muldoon (2012) and Hassard (2012) and place the work of the Hawthorne studies in a larger academic context.
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Cellauro, Louis. "IN QUEST OF COMFORT: CARLO LODOLI, THEORIST OF ORGANIC ARCHITECTURE AND FURNITURE DESIGNER." Papers of the British School at Rome 87 (February 26, 2019): 267–307. http://dx.doi.org/10.1017/s0068246218000405.
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Lodoli's subversive doctrine of truth-to-material was the most original and influential aspect of his approach to architecture. His concept of organic architecture, the main focus of this paper, has been less studied and is accordingly less well understood, although it was an important facet of his design theory. Lodoli applied his novel approach most obviously to the design of furnishings, particularly of chairs, but also extended it to architecture in a project for the refurbishment of the pilgrims’ hostel at San Francesco della Vigna, in Venice, the only instance in which he put his architectural ideas into practice. In Lodoli's thinking, great importance was given to the notion of comfort, and in this respect he shared new concerns common among French architects and furniture makers of the Enlightenment. Indeed, his ideas about architecture and design owe much to the influence of the Enlightenment, with its emphasis on reason, truth and universal criticism.
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Kavish, Nicholas, and Brian Boutwell. "The unified crime theory and the social correlates of crime and violence: problems and solutions." Journal of Criminal Psychology 8, no. 4 (November 5, 2018): 287–301. http://dx.doi.org/10.1108/jcp-06-2018-0028.
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Purpose Criminology has produced more than a century of informative research on the social correlates of criminal behavior. Recently, a growing body of theoretical and empirical work has begun to apply evolutionary principles, particularly from life history theory (LHT), to the study of crime. As this body of research continues to grow, it is important that work in this area synthesizes evolutionary principles with the decades of sociological research on the correlates of crime. The paper aims to discuss these issues. Design/methodology/approach The current paper reviews the brief history of research applying life history concepts to criminology, providing an overview of the underlying framework, exploring examples of empirically testable and tested hypotheses that have been derived from the theory, discussing cautions and criticisms of life history research, and discussing how this area of research can be further integrated with existing theory. Findings A growing body of research has, with relative consistency, associated indicators of a faster life history strategy with aggression and violence in humans and across the animal kingdom. Research into these associations is still vulnerable to genetic confounding and more research with genetically sensitive designs is needed. The use of hypotheses informed by evolutionary insight and tested with genetically sensitive designs provides the best option for understanding how environmental factors can have an impact on violent and criminal behavior. Originality/value The current paper provides an updated review of the growing application of LHT to the study of human behavior and acknowledges criticisms and areas of concern that need to be considered when forming hypotheses for research.
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Puckett, Kent. "“Postscript: 1976”: E. P. Thompson and the River of Fire." Victorian Literature and Culture 47, no. 4 (2019): 813–34. http://dx.doi.org/10.1017/s1060150319000342.
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This new section of Victorian Literature and Culture focuses on apparently minor works of criticism, works that have fallen out of view but that might deserve another look. I want to talk about an almost aggressively minor instance of very Victorian scholarship, minor not only because it isn't often read but also because minorness is built into its very design: E. P. Thompson's “Postscript: 1976,” a longish essay that followed the second and revised edition of his 1955 biography, William Morris: Romantic to Revolutionary. When seen in the reciprocal contexts of Thompson's career and the story of the British left (when, in other words, theory is seen not as opposed to but rather as a part of history), the apparently minor and belated qualities of Thompson's postscript emerge as a source of critical and even utopian promise. I want to argue that Thompson's lifelong engagement with the life of William Morris and with Morris's late conversion to socialism led him to a powerful and counterintuitive account of the lived threshold (what he and Morris call the “river of fire”) as essential to the methods of history and historical materialism.
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Boyle, Marjorie O'Rourke. "Montaigne's Consubstantial Book." Renaissance Quarterly 50, no. 3 (1997): 723–49. http://dx.doi.org/10.2307/3039260.
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Jen'ay pas plus faict mon livre que mon livre m'a faict, livre consubstantiel à son autheur … ” (I have not made my book any more than my book has made me, a book consubstantial with its author). That was no ordinary assertion in plain language. Montaigne explained his Essais as “concerned with my own self, an integral part of my life; not concerned with some third-hand extraneous purpose, like all other books.” Its subject was uniquely himself. His usage of the term “consubstantial” projected his design beyond the literary theory of imitation into a theological paradigm of divinity.Acknowledging that “well-known phrase” and “famous declaration,” literary criticism has much interpreted Montaigne's “consubstantial” book. Yet the slight mention of the word itself has been both undocumented and inaccurate.
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Stanovaïa, Lydia A. "Old French nominal declension – reality or illusion?" Theoretical and Applied Linguistics, no. 4 (2021): 112–34. http://dx.doi.org/10.22250/2410-7190_2021_7_4_112_134.
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The article examines the Old French nominal declension theory, which, despite criticism and convincing against arguments, remains a postulate of the French language history. This study aims to verify the theory based on comparison and critical analysis of arguments and facts obtained from the history of French during 200 years of empirical research. The analysis showed that the opinion about the declension reality is based on variable graphic forms with -s / without -s present in the 9–15th c. French manuscripts unreasonably identified as grammatical and treated as case forms. All deviations from the formulated by Fr. Raynouard's «s rules» are considered «errors» resulting from the progressive destruction of declension in French dialects during the 11–15th c. The illusory nature of the declension, first mentioned by Fr. Guessard and Fr. Génin, was confirmed by empirical studies of the 20–21th c. The article presents the following evidence of the absence of the Old French declension as a valid grammatical system: zero functional significance of case forms and declension in general, the absence of grammatical forms of the direct case regularly expressing the grammatical meaning of the direct case and opposed to the corresponding forms of the indirect case in language and speech, limitation and lacunarity of declension, covering a small part of nouns, adjectives, articles, etc., the absence of regular types and paradigms of declension, no clear boundaries between «declinable» and «non-declinable» names, up to 100% of «errors in declension». The variability of graphic forms with -s / without -s observed in French manuscripts is a purely graphic phenomenon associated with different scriptural standards (analogical or etymological type of graphic design of the name). The presence of manuscripts made in the same dialect zone, but differing in the type of graphic design disproves the dialect theory of declension.
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Baker, William. "The Education of a Structural Designer." Academia XXII 9, no. 18 (December 18, 2018): 7. http://dx.doi.org/10.22201/fa.2007252xp.2018.18.67937.
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<div class="page" title="Page 1"><div class="section"><div class="layoutArea"><div class="column"><p><span>A structural designer needs to be able to create something new. What is the source of these new ideas? They can come from an understanding of technology, a knowledge of history, research and educated inspiration. </span></p><p><span>Not all structural engineers are structural designers, who create work that has structural engineering principles as a central aspect. What does a structural engineer need to learn to be a good structural designer? Structural designers need to understand structural theory, the behavior of materials, mathematics (including a deep understanding of geometry) and the difference between analysis and design. It is import- ant to understand structural failures and learn from what hasn’t worked in the past. They need to learn and understand the history of design and designers and have the ability to make freehand sketches. They need to lose their fear of criticism and learn how to free themselves to create. A knowledge of the history of art and architecture will help spark ideas and provide another basis for communication with collaborators. One challenge for structural designers is to go into unknown territory instead of continuing down the same path, but also to not be afraid of utilizing a known solution and adapting it to the situation at hand. A designer </span><span>needs to learn how to nd or create knowledge through research. </span></p><p><span>The fundamental question is: how can we design the education of engineers to create structural designers? </span></p></div></div></div></div>
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Fomin, Dmitry V. "The Concept of “The Art of Book” in the Works of Book Scientists of the 1920s." Bibliotekovedenie [Russian Journal of Library Science] 69, no. 5 (December 9, 2020): 491–500. http://dx.doi.org/10.25281/0869-608x-2020-69-5-491-500.
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The author uses historiographic analysis, scientologic and bibliological methods to analyse the texts of the leading domestic book scientists of the 1920s, expressed on the art and design of book. The article identifies the range of the most important sources from the point of view of the studied theme. The author traces how the concept of the “art of book” was interpreted by scientists of that period, how it was introduced into science, and what aspects of study of design skills seemed to be the most advanced. Increased interest in the appearance and aesthetic quality of printed publications, which had been observed in the art criticism since the end of the 19th century, moved in the 1920s to the field of academic science. There is a need to concretize the basic concepts of “book art criticism”, specify them in detail in the general system of book science. According to the majority of researchers, the art of book should be understood first of all not as graphic decorations, illustrative additions to the text, but its typographic interpretation, clear coordination of all elements of the book ensemble. This idea was also expressed by the critics of Silver age, but it was the book scientists of the 1920s who especially vigorously promoted it, introduced it into the minds of contemporaries and into scientific circulation, and used it as a methodological basis for their theoretical constructions.M.I. Shchelkunov’s monograph “History, technology, art of book printing” played an important role in the history of “art book science”. It contains a lot of valuable information; however it is largely spoiled by the author’s vulgar-sociological approach to the chosen topic. More successful were the works of A.A. Sidorov “The art of book”, “Book as an object of study and artistic elements of book”, which raised the question of the need to study the forms of book, the laws of its construction, and the ratio of constructive and decorative elements in the design ensemble. The author also considers the statements about the art of book by M.N. Kufaev, A.M. Lovyagin, N.F. Garelin, M.I. Fabrikant, A.G. Fomin, P.M. Dulsky. Attempts by scientists in the 1920s to create a theory of book art, to approach the study of print works from the standpoint of art studies, were not always successful, but nevertheless, they were of great importance for Russian book science, expanded its borders and significantly influenced its further development.
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Ametova, L. "PECULIARITIES OF THE ARTISTIC LANGUAGE OF THE UKRAINIAN ARTIST YEVHENIA GAPCHYNSKA." Innovative Solution in Modern Science 6, no. 42 (March 4, 2021): 230. http://dx.doi.org/10.26886/2414-634x.6(42)2020.14.
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The subject of the research is the developments of the modern Ukrainian artist Evgeniya Gapchinskaya, who is now successfully working in various fields of art and design, ranging from jewelry and book graphics to monumental mural art. The purpose of the work is to investigate the specifics of the artistic language of the named artist in the context of the development of modern mass culture. The methodology of the work is based on a combination of chronological and the principle of scientific comprehensiveness, art history, design and culturological approaches, ontological, axiological, hermeneutic, historical-comparative, cross-cultural and art history analysis methods. The results of the work allow us to understand the secrets of E. Gapchinskaya's success in the field of contemporary art and design. The scope of application of the results – artistic and design practices of the present, history, theory and criticism of art, teaching activities for students and graduate students of creative specialties. Findings. It was found that the artistic language of Yevhenia Gapchinskaya was formed under the influence of Ukrainian and German artistic traditions. Taking into account the one-year internship in Nuremberg at the beginning of the formation of the artistic language, the author was inspired in her artistic searches by the impulses of the high art of the Northern Renaissance and mannerism. In particular, the work of I. Bosch and P. P. Bruegel the Elder (Peasant), whose phantasmagoric language still has a significant impact on the work of young European artists. Also, the formation of the artistic originality of Evgenia Gapchinskaya's handwriting was significantly influenced by the Dutch and Flemish art of the 17th – 18th centuries, headed by Frans Halls and Rembrandt van Rijn, and individual searches for Baroque-Rococo artists from other European countries – J. B. Greuze and T. Gainsborough. In general, the specific artistic and figurative manner of E. Gapchinskaya was influenced by the artist's appeal to related areas of knowledge – nail design, creative work with plastic, environmental design, advertising, image-making, art gallery business, restoration, art management, marketing, logistics and the like.Key words: artistic manner of creativity, Evgeniya Gapchinskaya, Ukraine, the beginning of the XXI century.
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Miller, Kiri. "Americanism Musically: Nation, Evolution, and Public Education at the Columbian Exposition, 1893." 19th-Century Music 27, no. 2 (2003): 137–55. http://dx.doi.org/10.1525/ncm.2003.27.2.137.
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The Columbian Exposition (the World's Fair in Chicago, 1893) was intended to represent the entire progress of human history, with American civilization as its culminating triumph. The Exposition celebrated the four-hundredth anniversary of Columbus's discovery of the New World; it restaged that discovery in myriad ways: from the display of ““savage races”” on the Midway to the construction of an emergent American middle class as civilization's newest noble savages, hungry for education. Music was an integral part of the Exposition. America's musical elite took an active role in the fair's promotion and design. The Exposition also stimulated a flood of writing on the nature and future of ““truly American”” music. This article examines American musical culture at the Exposition, with attention to music as art, science, and commerce three categories at the heart of the Exposition's formal definition of music. The network of mutual reinforcements, contradictions and the related concepts of nation, race, and evolution has powerful implications for the ensuing history of music in America. Analysis of the educational agenda of music at the Exposition suggests it taught its visitors--5 to 10 percent of the American population--a great deal about race, class, nationhood, and their identity as consumers. Reading the musical criticism, speculative philosophy, and patriotic grandstanding that accompanied the fair shows how musical thought of the day relied on evolutionary theory.
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Liu, Alan. "The Meaning of the Digital Humanities." PMLA/Publications of the Modern Language Association of America 128, no. 2 (March 2013): 409–23. http://dx.doi.org/10.1632/pmla.2013.128.2.409.
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This question of disciplinary meaning—which I ask from the viewpoint of the humanities generally—is larger than the question of disciplinary identity now preoccupying “DH” itself, as insiders call it. Having reached a critical mass of participants, publications, conferences, grant competitions, institutionalization (centers, programs, and advertised jobs), and general visibility, the field is vigorously forming an identity. Recent debates about whether the digital humanities are a “big tent” (Jockers and Worthey), “who's in and who's out?” (Ramsay), whether “you have to know how to code [or be a builder]” (Ramsay, “On Building”), the need for “more hack, less yack” (Cecire, “When Digital Humanities”; Koh), and “who you calling untheoretical?” (Bauer) witness a dialectics of inclusion and exclusion not unlike that of past emergent fields. An ethnographer of the field, indeed, might take a page from Claude Lévi-Strauss and chart the current digital humanities as something like a grid of affiliations and differences between neighboring tribes. Exaggerating the differences somewhat, as when a tribe boasts its uniqueness, we can thus say that the digital humanities—much of which affiliates with older humanities disciplines such as literature, history, classics, and the languages; with the remediation of older media such as books and libraries; and ultimately with the value of the old itself (history, archives, the curatorial mission)—are not the tribe of “new media studies,” under the sway of the design, visual, and media arts; Continental theory; cultural criticism; and the avant-garde new. Similarly, despite significant trends toward networked and multimodal work spanning social, visual, aural, and haptic media, much of the digital humanities focuses on documents and texts in a way that distinguishes the field's work from digital research in media studies, communication studies, information studies, and sociology. And the digital humanities are exploring new repertoires of interpretive or expressive “algorithmic criticism” (the “second wave” of the digital humanities proclaimed in “The Digital Humanities Manifesto 2.0” [3]) in a way that makes the field not even its earlier self, “humanities computing,” alleged to have had narrower technical and service-oriented aims. Recently, the digital humanities' limited engagement with identity and social-justice issues has also been seen to be a differentiating trait—for example, by the vibrant #transformDH collective, which worries that the digital humanities (unlike some areas of new media studies) are dominantly not concerned with race, gender, alternative sexualities, or disability.
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Linsley, Philip Mark, Alexander Linsley, Matthias Beck, and Simon Mollan. "Employing neo-Durkheimian institutional theory in cross-cultural accounting research." Accounting, Auditing & Accountability Journal 29, no. 8 (October 17, 2016): 1270–93. http://dx.doi.org/10.1108/aaaj-07-2015-2156.
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Purpose The purpose of this paper is to propose Neo-Durkheimian institutional theory, developed by the Durkheimian institutional theory, as developed by anthropologist Mary Douglas, as a suitable theory base for undertaking cross-cultural accounting research. The social theory provides a structure for examining within-country and cross-country actions and behaviours of different groups and communities. It avoids associating nations and cultures, instead contending any nation will comprise four different solidarities engaging in constant dialogues. Further, it is a dynamic theory able to take account of cultural change. Design/methodology/approach The paper establishes a case for using neo-Durkheimian institutional theory in cross-cultural accounting research by specifying the key components of the theory and addressing common criticisms. To illustrate how the theory might be utilised in the domain of accounting and finance research, a comparative interpretation of the different experiences of financialization in Germany and the UK is provided drawing on Douglas’s grid-group schema. Findings Neo-Durkheimian institutional theory is deemed sufficiently capable of interpreting the behaviours of different social groups and is not open to the same criticisms as Hofstede’s work. Differences in Douglasian cultural dialogues in the post-1945 history of Germany and the UK provide an explanation of the variations in the comparative experiences of financialization. Originality/value Neo-Durkheimian institutional theory has been used in a wide range of contexts; however, it has been little used in the context of accounting research. The adoption of the theory in future accounting research can redress a Hofstedian-bias in accounting research.
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Cecilia de Burgh-Woodman, Helene. "Homogeneity, “glocalism” or somewhere in between?" European Journal of Marketing 48, no. 1/2 (February 4, 2014): 288–313. http://dx.doi.org/10.1108/ejm-03-2011-0132.
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Purpose – This paper aims to expand current theories of globalisation to a consideration of its impact on the individual. Much work has been done on the impact of globalisation on social, political and economic structures. In this paper, globalisation, for the individual, reflects a re-conceptualisation of the Self/Other encounter. In order to explore this Self/Other dimension, the paper analyses the literary work of nineteenth-century writer Pierre Loti since his work begins to problematise this important motif. His work also provides insight into the effect on the individual when encountering the Other in a globalised context. Design/methodology/approach – Drawing from literary criticism, the paper adopts an interpretive approach. Using the fiction and non-fiction work of Pierre Loti, an integrated psychoanalytical, postcolonial analysis is conducted to draw out possible insights into how Loti conceptualises the Other and is thus transformed himself. Findings – The paper finds that the Self/Other encounter shifts in the era of globalisation. The blurring of the Self/Other is part of the impact of globalisation on the individual. Further, the paper argues that Loti was the first to problematise Self/Other at a point in history where the distinction seemed clear. Loti's work is instructive for tracing the dissolution of the Self/Other encounter since the themes and issues raised in his early work foreshadow our contemporary experience of globalisation. Research limitations/implications – This paper takes a specific view of globalisation through an interpretive lens. It also uses one specific body of work to answer the research question of what impact globalisation has on the individual. A broader sampling and application of theoretical strains out of the literary criticism canon would expand the parameters of this study. Originality/value – This paper makes an original contribution to current theorisations of globalisation in that it re-conceptualises classical understandings of the Self/Other divide. The finding that the Self/Other divide is altered in the current era of globalisation has impact for cultural and marketing theory since it re-focuses attention on the shifting nature of identity and how we encounter the Other in our daily existence.
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POSNOCK, ROSS. "“LIKE BUT UNALIKE”: ERIC SUNDQUIST AND LITERARY HISTORICISM." Modern Intellectual History 4, no. 3 (October 4, 2007): 629–42. http://dx.doi.org/10.1017/s147924430700145x.
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Eric Sundquist, Strangers in the Land: Blacks, Jews, Post-Holocaust America (Cambridge, MA: Harvard University Press, 2005)As measured by that deadly but inescapable phrase “quantity and quality,” Eric Sundquist is perhaps the most productive American literature scholar of his generation. Since 1979, when he was still in his twenties, he has authored half a dozen books while editing another half-dozen. All have made an impact and many of these have been highly influential—his first book, Home as Found: Authority and Genealogy in Nineteenth-Century American Literature, was among the very first to read canonical American works through the lens of contemporary literary and psychoanalytic theory; his edited collection American Realism: New Essays (1982) proved pivotal in reviving the critical energy in a major but long-dormant literary and historical period. To Wake the Nations: Race in the Making of American Literature (1993) was by implicit design and to powerful effect nothing less than a rewriting of the foundational work of American literary history and criticism—F. O. Matthiessen's monumental American Renaissance: Art and Expression in the Age of Emerson and Whitman (1941). I will spend some time describing To Wake the Nations not only because of the book's exceptional importance but because its eloquent introduction provides the closest thing to a critical credo that Sundquist has written. His description there of his critical ideals—particularly of “justice,” boundary-crossing and “verification”—will help orient our approach to Strangers in the Land, which remains loyal to these ideals as it extends his interest in race and ethnicity, black and white, to the tormented subject of blacks and Jews, united by a “bond of alienation.” (52).
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Pylypchuk, Oleh, Oleh Strelko, and Yuliia Berdnychenko. "PREFACE." History of science and technology 11, no. 2 (December 12, 2021): 271–73. http://dx.doi.org/10.32703/2415-7422-2021-11-2-271-273.
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The issue of the journal opens with an article dedicated to the formation of metrology as government regulated activity in France. The article has discussed the historical process of development of metrological activity in France. It was revealed that the history of metrology is considered as an auxiliary historical and ethnographic discipline from a social and philosophical point of view as the evolution of scientific approaches to the definition of individual units of physical quantities and branches of metrology. However, in the scientific literature, the little attention is paid to the process of a development of a centralized institutional metrology system that is the organizational basis for ensuring the uniformity of measurements. The article by Irena Grebtsova and Maryna Kovalska is devoted to the of the development of the source criticism’s knowledge in the Imperial Novorossiya University which was founded in the second half of the XIX century in Odesa. Grounding on a large complex of general scientific methods, and a historical method and source criticism, the authors identified the stages of the formation of source criticism in the process of teaching historical disciplines at the university, what they based on an analysis of the teaching activities of professors and associate professors of the Faculty of History and Philology. In the article, the development of the foundations of source criticism is considered as a complex process, which in Western European and Russian science was the result of the development of the theory and practice of everyday dialogue between scientists and historical sources. This process had a great influence on the advancement of a historical education in university, which was one of the important factors in the formation of source studies as a scientific discipline. The article by Tetiana Malovichko is devoted to the study of what changes the course of the probability theory has undergone from the end of the 19th century to our time based on the analysis of The Theory of Probabilities textbook by Vasyl P. Ermakov published in 1878. The paper contains a comparative analysis of The Probability Theory textbook and modern educational literature. The birth of children after infertility treatment of married couples with the help of assisted reproductive technologies has become a reality after many years of basic research on the physiology of reproductive system, development of oocyte’s in vitro fertilization methods and cultivation of embryos at pre-implantation stages. Given the widespread use of assisted reproductive technologies in modern medical practice and the great interest of society to this problem, the aim of the study authors from the Institute for Problems of Cryobiology and Cryomedicine of the National Academy of Sciences of Ukraine was to trace the main stages and key events of assisted reproductive technologies in the world and in Ukraine, as well as to highlight the activities of outstanding scientists of domestic and world science who were at the origins of the development of this area. As a result of the work, it has been shown that despite certain ethical and social biases, the discovery of individual predecessor scientists became the basis for the efforts of Robert Edwards and Patrick Steptoe to ensure birth of the world's first child, whose conception occurred outside the mother's body. There are also historical facts and unique photos from our own archive, which confirm the fact of the first successful oocyte in vitro fertilization and the birth of a child after the use of assisted reproductive technologies in Ukraine. In the next article, the authors tried to consider and structure the stages of development and creation of the “Yermak”, the world's first Arctic icebreaker, and analyzed the stages of preparation and the results of its first expeditions to explore the Arctic. Systematic analysis of historical sources and biographical material allowed to separate and comprehensively consider the conditions and prehistory for the development and creation of “Yermak” icebreaker. Also, the authors gave an assessment to the role of Vice Admiral Stepan Osypovych Makarov in those events, and analyzed the role of Sergei Yulyevich Witte, Dmitri Ivanovich Mendeleev and Pyotr Petrovich Semenov-Tian-Shansky in the preparation and implementation of the first Arctic expeditions of the “Yermak”icebreaker. The authors of the following article considered the historical aspects of construction and operation of train ferry routes. The article deals with the analysis and systematization of the data on the historical development of train ferry routes and describes the background for the construction of train ferry routes and their advantages over other combined transport types. It also deals with the basic features of the train ferries operating on the main international train ferry routes. The study is concerned with both sea routes and routes across rivers and lakes. The article shows the role of train ferry routes in the improvement of a national economy, and in the provision of the military defense. An analysis of numerous artefacts of the first third of the 20th century suggests that the production of many varieties of art-and-industrial ceramics developed in Halychyna, in particular architectural ceramic plastics, a variety of functional ceramics, decorative tiles, ceramic tiles, facing tiles, etc. The artistic features of Halychyna art ceramics, the richness of methods for decorating and shaping it, stylistic features, as well as numerous art societies, scientific and professional associations, groups, plants and factories specializing in the production of ceramics reflect the general development of this industry in the first half of the century and represent the prerequisites the emergence of the school of professional ceramics in Halychyna at the beginning of the 20th century. The purpose of the next paper is to analyze the formation and development of scientific and professional schools of art-and-industrial ceramics of Halychyna in the late 19th – early 20th centuries. During the environmental crisis, electric transport (e-transport) is becoming a matter for scientific inquiry, a subject of discussion in politics and among public figures. In the program for developing the municipal services of Ukraine, priorities are given to the development of the infrastructure of ecological transport: trolleybuses, electric buses, electric cars. The increased attention to e-transport on the part of the scientific community, politicians, and the public actualizes the study of its history, development, features of operation, etc. The aim of the next study is to highlight little-known facts of the history of production and operation of MAN trolleybuses in Ukrainian cities, as well as to introduce their technical characteristics into scientific circulation. The types, specific design solutions of the first MAN trolleybus generation and the prerequisites for their appearance in Chernivtsi have been determined. Particular attention has been paid to trolleybuses that were in operation in Germany and other Western European countries from the first half of the 1930s to the early 1950s. The paper traces the stages of operation of the MAN trolleybuses in Chernivtsi, where they worked during 1939–1944 and after the end of the Second World War, they were transferred to Kyiv. After two years of operation in the Ukrainian capital, the trolleybuses entered the routes in Dnipropetrovsk during 1947–1951. The purpose of the article by authors from the State University of Infrastructure and Technologies of Ukraine is to thoroughly analyze unpaved roads of the late 18th – early 19th century, as well as the project of the first wooden trackway as the forerunner of the Bukovyna railways. To achieve this purpose, the authors first reviewed how railways were constructed in the Austrian Empire during 1830s – 1850s. Then, in contrast with the first railway networks that emerged and developed in the Austrian Empire, the authors made an analysis of the condition and characteristics of unpaved roads in Bukovyna. In addition, the authors considered the first attempt to create a wooden trackway as a prototype and predecessor of the Bukovyna railway.
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Triggs, Teal. "Writing Design Criticism into History." Design and Culture 5, no. 1 (March 2013): 33–38. http://dx.doi.org/10.2752/175470813x13491105785505.
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Ignatova, Irina, and Elena Zubarkina. "Media Criticism in Germany: History and Theory." Theoretical and Practical Issues of Journalism 8, no. 3 (July 16, 2019): 512–23. http://dx.doi.org/10.17150/2308-6203.2019.8(3).512-523.
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The article is dedicated to the study of the history and theory of media criticism in Germany and the importance of the phenomenon of media criticism for the development and successful functioning of the mass media in German-speaking countries. The theoretical preconditions for the development of media criticism in Germany and its historical stages play an important role in understanding the modern institution of media criticism and the mechanisms of its impact on the recipient. Media criticism has existed since the media themselves appeared, and the existence and emergence of new media is always accompanied by positive or negative feedback on them. The development of the media inevitably leads to their criticism. The article considers media criticism as a global criticism of the media and as a study of individual specific phenomena in the media environment. The estimated role of media criticism is recognized by German-speaking researchers as one of the main functions. And it must be understood that media criticism provides an opportunity for a reasoned discussion about the media, without which neither the existence of the media, nor indeed the society as a whole is possible. Media criticism generates an open discussion and thereby contributes to the enlightenment of society. To some extent, setting norms and standards for the quality of journalism, it forms ethical boundaries of communication, both for journalists and for the audience. The stages of development of media criticism in Germany, described in the article, cover the period from the late 1980s to the present. The main subsystems of mass media are considered: television media criticism, media criticism on the radio, in print media, media criticism in the Internet space. Thanks to this, we get a full picture of the formation and development of media criticism in Germany.
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McH., B., and Dominick LaCapra. "History and Criticism." Poetics Today 7, no. 3 (1986): 594. http://dx.doi.org/10.2307/1772526.
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Reynolds, R. Clay, and R. S. Gwynn. "New Expansive Poetry: Theory, Criticism, History." South Central Review 17, no. 3 (2000): 141. http://dx.doi.org/10.2307/3190100.
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Williams, Carolyn D., and Heidi Hutner. "Rereading Aphra Behn: History, Theory, and Criticism." Modern Language Review 90, no. 1 (January 1995): 147. http://dx.doi.org/10.2307/3733277.
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Cole, Shaun. "Fashion Writing and Criticism: History, Theory, Practice." Costume 50, no. 1 (January 1, 2016): 146–47. http://dx.doi.org/10.1080/05908876.2016.1134896.
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Greer, Germaine, and Heidi Hutner. "Rereading Aphra Behn: History, Theory, and Criticism." William and Mary Quarterly 51, no. 4 (October 1994): 794. http://dx.doi.org/10.2307/2946948.
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Roth, Michael S. "Cultural Criticism and Political Theory." Political Theory 16, no. 4 (November 1988): 636–46. http://dx.doi.org/10.1177/0090591788016004007.
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Guffey, Elizabeth. "Sifting the Trash: A History of Design Criticism." Journal of Design History 31, no. 4 (October 30, 2018): 406–7. http://dx.doi.org/10.1093/jdh/epy032.
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Coppoolse, Anneke. "Sifting the Trash: A History of Design Criticism." Design and Culture 12, no. 1 (August 21, 2019): 106–8. http://dx.doi.org/10.1080/17547075.2019.1651115.
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White, Linda. "Basque literary criticism: Overcoming theory lag." Journal of Spanish Cultural Studies 1, no. 2 (September 2000): 205–14. http://dx.doi.org/10.1080/713683440.
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Bachman, Gregg. "A Review of “Film Moments: Criticism, History, Theory”." Quarterly Review of Film and Video 29, no. 4 (July 2012): 377–79. http://dx.doi.org/10.1080/10509208.2011.646106.
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Radice, Mark A. "Reader's Guide to Music: History, Theory, Criticism (review)." Notes 58, no. 1 (2001): 66. http://dx.doi.org/10.1353/not.2001.0165.
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Dean, Paul. "Current Literature 2000: Literary Theory, History and Criticism." English Studies 83, no. 1 (February 1, 2002): 9–39. http://dx.doi.org/10.1076/enst.83.1.9.9567.
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Dean, Paul. "Current Literature 2001. Literary Theory, History and Criticism." English Studies 84, no. 2 (April 1, 2003): 145–69. http://dx.doi.org/10.1076/enst.84.2.145.14904.
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Dean, Paul. "Current Literature 2002. Literary Theory, History and Criticism." English Studies 84, no. 6 (December 1, 2003): 558–72. http://dx.doi.org/10.1076/enst.84.6.558.28782.
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Dean, Paul. "CURRENT LITERATURE 2003: LITERARY THEORY, HISTORY AND CRITICISM." English Studies 85, no. 6 (December 2004): 532–46. http://dx.doi.org/10.1080/00138380412331339260.
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Jász, Borbála. "MENTAL MAP OF THE CITY: ELEMENTS OF VISUAL ARGUMENTATION AND CREATIVITY IN MODERN CITY PLANNING." Creativity Studies 11, no. 2 (December 5, 2018): 284–93. http://dx.doi.org/10.3846/cs.2018.6901.
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Lewis Mumford in The City in History (first edition in 1961) emphasises that the structure of modern cities is partially responsible for many social problems seen in Western society. Urban planning should concentrate on an organic relationship between people and their living spaces. The city is a product of Earth, a fact of nature, man’s method of expression, Mumford writes in his The Culture of Cities (first edition in 1938). This also means that both the designer and the user must have a high degree of creativity in order to design and utilise the built environment. By analysing the definition of the city Mumford examines its changes during history from ancient times to recent planning method. He criticises the most dominant design processes of the 20th century: the functionalist and mechanical urban design. He is an advocate of the organic method in planning and understanding cities. The organic approach requires an active and creative approach as opposed to mere passive reception.This organic approach by Mumford to understanding cities is based on the theory of Kevin A. Lynch. We may distinguish 3 normative ways of city planning theory: (1) the cosmic, (2) the mechanic and (3) the organic model.In my paper I will first apply the onion model of culture developed by Geert Hofstede for the city and its analysis, and also for the appearance of creativity in them. After that I am going to examine the city with a special, architectural based mind map theory: the five elements by Lynch. Lynch suggests that these five elements (paths, edges, districts, nodes, landmarks) create the mental map for readability. Finally, I will investigate a usage of mental map in modern city planning (Le Corbusier) and works on the process of “debabelisation” (Otto Neurath). Santrauka Lewisas Mumfordas Mieste istorijoje (pirmasis leidimas – 1961 m.) pabrėžia, kad šiuolaikinių miestų struktūrai tenka dalis atsakomybės dėl daugelio socialinių problemų, regimų Vakarų visuomenėje. Miesto planavimas turėtų būti koncentruojamas į organišką ryšį tarp žmonių ir jų gyvenamųjų erdvių. Miestų kultūroje (pirmasis leidimas – 1938) Mumfordas rašo, kad miestas – tai Žemės produktas, gamtos įvykis, žmogiškosios išraiškos metodas. Tai taip pat reiškia, kad tiek projektuotojas, tiek vartotojas turi būti itin kūrybiškas, idant suprojektuotų ir panaudotų sukurtą aplinką. Analizuodamas miesto apibrėžimą, Mumfordas nagrinėja jo kaitą istorijoje nuo antikos laikų iki dabartinio planavimo metodo. Jis kritikuoja XX a. labiausiai įsivyravusius projektavimo procesus: funkcionalistinį ir mechaninį miesto projektavimą. Jis yra organinio metodo, taikomo miestams planuoti ir suprasti, šalininkas. Organiškas požiūris reikalauja aktyvaus ir kūrybiško požiūrio, priešpriešinamo grynai pasyviam suvokimui.Šis organiškas Mumfordo požiūris, suprantant miestus, grindžiamas Kevino A. Lyncho teorija. Galime išskirti tris normatyvinius miesto planavimo teorijos būdus: 1) kosminį; 2) mechaninį; 3) organinį modelį.Straipsnyje pirmiausia taikomas svogūninis kultūros modelis, kurį miestui ir jo analizei, taip pat jų kūrybiškumo pasireiškimui sukūrė Geertas Hofstede. Paskui nagrinėjamas miestas, pasitelkiant ypatingą, architektūra grindžiamą proto žemėlapio teoriją – penkis Lyncho elementus. Lynchas teigia, kad šie penki elementai (takai, pakraščiai, rajonai, susikirtimo taškai, peizažai) kuria mentalinį reglamentavimo žemėlapį. Galiausiai tyrinėjama, kaip proto žemėlapis naudojamas šiuolaikiniam miestui planuoti (Le Corbusier) ir kokią įtaką daro „debabilizacijos“ procesui (Otto Neurathas).
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Dancer, Thom. "Literary Criticism: A Concise Political History." Comparative Literature 71, no. 1 (March 1, 2019): 117–21. http://dx.doi.org/10.1215/00104124-7217100.
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Farnell, Gary. "Review: Making Monstrous: Frankenstein, Criticism, Theory." Literature & History 2, no. 1 (March 1993): 113–14. http://dx.doi.org/10.1177/030619739300200120.
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Gearhart, Suzanne, and Dominick LaCapra. "History as Criticism: The Dialogue of History and Literature." Diacritics 17, no. 3 (1987): 56. http://dx.doi.org/10.2307/464835.
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Dean, Paul. "Current Literature 1998: II. Literary Theory, History and Criticism." English Studies 81, no. 1 (February 1, 2000): 56–81. http://dx.doi.org/10.1076/0013-838x(200001)81:1;1-#;ft056.
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Björkman, Maria. "Vitenskapsstudier. Historie, teori, kritikk [Science Studies. History, Theory, Criticism]." Scandinavian Journal of History 34, no. 1 (March 2009): 117–18. http://dx.doi.org/10.1080/03468750802692383.
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Beecher, Mary Anne. "Alternative Models of the Past: History/Theory/Criticism Courses." Journal of Interior Design 25, no. 1 (May 1999): 37–44. http://dx.doi.org/10.1111/j.1939-1668.1999.tb00334.x.
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Forsdick, C. "Postcolonial Criticism: History, Theory, and the Work of Fiction." Comparative Literature 58, no. 3 (January 1, 2006): 263–65. http://dx.doi.org/10.1215/-58-3-263.
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Dean, Paul. "Current Literature 1999: II. Literary Theory, History and Criticism." English Studies 81, no. 6 (December 1, 2000): 548–73. http://dx.doi.org/10.1076/enst.81.6.548.9182.
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O'Donnell, Mary Ann. "Rereading Aphra Behn: History, Theory, and Criticism. Heidi Hutner." Modern Philology 93, no. 4 (May 1996): 519–24. http://dx.doi.org/10.1086/392346.
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