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Journal articles on the topic 'English art criticism'
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1
James, Jenny M. "Trends in James Baldwin Criticism, 2015–16." James Baldwin Review 5, no. 1 (September 2019): 143–59. http://dx.doi.org/10.7227/jbr.5.10.
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This review article charts the general direction of scholarship in James Baldwin studies between the years 2015 and 2016, reflecting on important scholarly events and publications of the period and identifying notable trends in criticism. While these years witnessed a continuing interest in the relationship of Baldwin’s work to other authors and art forms as well as his transnational literary imagination, noted in previous scholarly reviews, three newly emergent trends are notable: an increased attention to Baldwin in journals primarily devoted to the study of literatures in English, a new wave of multidisciplinary studies of Baldwin, and a burgeoning archival turn in Baldwin criticism.
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Ternova, M. V. "CONCEPT OF THE STUDY OF ART BY R.J. COLLINGWOOD AS AN OBJECT OF THEORETICAL ANALYSIS." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 36–40. http://dx.doi.org/10.17721/ucs.2020.1(6).08.
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The article analyzed concept of the study of art by Robin George Collingwood (1889-1943), a well-known English neo-hegelian philosopher. His significant part of the theoretical heritage is connected with the explanation of the nature of art and with the consideration of its condition during the period of the changing Oscar Wilde era to the era of Rudyard Kipling. The circle of problem such as content and form, character, image, mimesis, reflection, emotion, art and "street man" identified. All of them in Collingwood's presentation and interpretation significantly expanded the space of research not only English, but also European art criticism. The concept of study of art is "built" on the basis of an active understanding of historical and cultural traditions accented. The concept of art criticism of R.G. Collingwood – a famous English philosopher of the XIX-XX centuries, on the one hand, has self-importance, and on the other, although based on the traditions of contemporary humanities, still expands art history analysis of aesthetics through aesthetics and psychology. Recognizing the exhaustion of the English model of romanticism, R.G. Collingwood tries to outline the prospects for the development of art in the logic of the movement "romanticism – realism – avant-garde", which leads to the actualization of the problem of "mimesis – reflection". At the same time, the theorist's attention is consciously concentrated around the concept of "subject", the understanding of which is radically changing at the turn of the XIX-XX centuries. Theoretical material in the presentation of R.G. Collingwood is based on the work of Shakespeare, Reynolds, Turner, Cezanne, whose experience allows us to focus on the problem of "artist and audience". It is emphasized that Collingwood's position is ahead of its time, stimulating scientific research in the European humanities. The existence of indicative tendencies, which are distinguished in the logic of European cultural creation of the historical period, is emphasized.
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Saloman, Ora Frishberg. "Continental and English Foundations of J. S. Dwight's Early American Criticism of Beethoven's Ninth Symphony." Journal of the Royal Musical Association 119, no. 2 (1994): 251–67. http://dx.doi.org/10.1093/jrma/119.2.251.
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The reception history of Ludwig van Beethoven's symphonies in America offers striking evidence of multiple, previously unidentified, Continental and English connections to the musical thought of John Sullivan Dwight (1813–93), the first American-born critic of art music, and therefore to early American conceptions of the symphony in the 1840s. These direct links illuminate the history and criticism of the first performance in America of Beethoven's Symphony no. 9 in D minor, op. 125, which took place in New York in 1846. From the many sources associated with Dwight's musical learning and aesthetic education, I have chosen in this article to examine Dwight's literary interest in Johann Christoph Friedrich Schiller's poem ‘An die Freude’ and in Thomas Carlyle's biography of Schiller, to document his knowledge of commentary on the symphony by the German critic Adolf Bernhard Marx, and to describe Dwight's response to the initial American performance of the Ninth Symphony.
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Keating, Heather. "Protecting or punishing children: physical punishment, human rights and English law reform." Legal Studies 26, no. 3 (September 2006): 394–413. http://dx.doi.org/10.1111/j.1748-121x.2006.00022.x.
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This paper assesses the current state of English criminal law in relation to the use of physical force by parents as a means of disciplining their children. It does so in the light of the Children Act 2004, the European Convention for the Protection of Human Rights and Fundamental Freedoms 1950, Art 3, pressure from bodies such as the United Nations Committee on the Rights of the Child and the law in other parts of Europe. It acknowledges that parents should have a large degree of autonomy in relation to parenting. However, the defence of ‘discipline’ or ‘reasonable chastisement’ is outdated, vague and potentially dangerous to children. It is argued that the response of the British Government to criticism of our law has been far from satisfactory. The reform which was incorporated into the Children Act 2004 as a result of pressure upon the government aims to avoid criminalising ‘ordinary families’ for minor smacks. However, the statement of principle is so diluted that parents might understandably be confused and enforcement may be difficult. Moreover, the pressure for reform has continued unabated. The paper concludes that what is needed is an outright ban, combined with an educational campaign, which can lead the way in changing the cultural tradition of physical punishment.
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A, Vasuki. "THE POEMS OF WILLIAM WORDSWORTH: AN ECOCRITICAL OVERVIEW." Kongunadu Research Journal 4, no. 1 (June 30, 2017): 55–58. http://dx.doi.org/10.26524/krj178.
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Eco-criticism emerged in the 1990’s and the critics changed their angles of vision and examined the works of art by focusing on the relationship between man and Nature. William Words worth, in particular, became the key icons of eco-critical studies. Wordsworth was a major English Romantic poet who has beenconsidered as a forerunner of English Romanticism. His views towards Nature and man’s treatment of Nature have supported his position as an important icon of eco-critical studies. His fame lies in the general belief that he has been viewed as a Nature poet who viewed Nature superior to humans. In other words, his views about Nature and his poems seek to heal the long-forgotten wounds of Nature in the hope of reaching unification between man and Nature. With the emergence of Eco-criticism as a new critical approach in the 1990’s, Romantic poetry, in general, and William Wordsworth, in particular, became the icons of eco-critical studies. He was the foremost Romantic poet who cared for the creation of symbiosis between man and Nature. William Wordsworth was a major English Romantic poet who is considered as a forerunner of English Romanticism. His contributions to the repository of English literature are undoubtedly a token of hisgreatness among his contemporaries. His views towards Nature and man’s treatment of Nature have supported his position as an important icon of eco-critical studies. His fame lies in the general belief that he has been viewed as England’s greatest Nature poet who viewed Nature superior to human being whosesurvival is dependent upon Nature. Wordsworth intends to show the value of survival of human being in Nature. Though literary critics talked about the eco-critical concepts in the past, the present paper highlights a recent literary approach to Eco-criticism studies, “the relationship between literature and physicalenvironment” in the poems of William Wordsworth.
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Cvejić, Žarko. "Anxieties over technology in Yugoslav interwar music criticism: Stanislav Vinaver in dialogue with Walter Benjamin." New Sound 53, no. 1 (2019): 37–52. http://dx.doi.org/10.5937/newso1901037c.
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In Paris in late 1935, the exiled German-Jewish philosopher Walter Benjamin completed the first version of his well-known 'artwork essay', The Work of Art in the Age of Its Technological Reproducibility. In that essay, Benjamin famously welcomed the loss of 'aura' in art, the mystique, quasi-religious quality of unique, original, authentic, and aesthetically autonomous works of art, due to the advent of mass reproduction of artworks on an industrial scale, especially in the new arts of photography and cinema, rendering many of those quasi-religious qualities of 'auratic' art obsolete. Benjamin welcomed this in accordance with his leftist, anti-fascist political agenda, hoping that the loss of 'aura' would open art to politicization, communism's (or, at any rate, Benjamin's) response to fascism's aestheticisation of politics. That same year, 1935, in Belgrade, the capital of what was then the Kingdom of Yugoslavia, the Serbian-Jewish poet, intellectual, and literary and music critic Stanislav Vinaver wrote an essay titled Mehanička muzika (Mechanical Music). In his essay, Vinaver focused on the advent of technical reproduction in and its effects on music, an art largely ignored by Benjamin. Unlike his more famous contemporary, Vinaver was alarmed by the new technologies of radio and the gramophone record and their perceived negative impact not only on traditional music, performed live on traditional, acoustic instruments, but on organic life in general, replacing it with a mechanical surrogate carried by the waves of a dehumanizing technology. Vinaver's views were probably shaped by his passionate championing of modernism in Serbian and Yugoslav literature and music alike, which is evident not only in Mehanička muzika, but also in his criticism in general. Two more important factors may have also been the influence of the French philosopher Henri Bergson, Vinaver's one-time professor at the Sorbonne, and his valorisation of intuition in thought and artistic creativity, as well as Vinaver's somewhat nostalgic view of music as the only true and self-referential art, a view reminiscent of the re-conception of music in the early German Romantics such as E. T. A. Hoffmann, F. W. J. Schelling, and Arthur Schopenhauer, later taken up and elaborated by such disparate figures as the German music theorist Eduard Hanslick, English essayist Walter Pater, and Vinaver's own modernist hero Arnold Schönberg. Ironically, although Vinaver shared much of Benjamin's leftist politics, he did not see such a positive potential in the mechanical reproduction of music, but, perhaps, only another sign of humanity's headlong March toward self-destruction in a total war, on the wings of an aestheticised technology and instrumental reason run amok, no longer serving humanity but turning against it.
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Pageot, Edith-Anne. "L’art autochtone à l’aune du discours critique dans les revues spécialisées en arts visuels au Canada. Les cas de Sakahàn et de Beat Nation." Article quatre 9, no. 1 (October 17, 2018): 81–94. http://dx.doi.org/10.7202/1052629ar.
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This article offers a qualitative and quantitive analysis of the critical reception of two exhibitions, Sakahàn:International Indigenous Art (National Gallery of Canada, Ottawa 2013) and Beat Nation: Art, Hip-Hop and Aboriginial Culture (organised and circulated by the Vancouver Art Gallery, 2013-2014). The study treats articles which appeared between 2012 and 2015 in English and French visual-arts publications. The comparative analysis intends to highlight general trends, in order to identify challenges that contemporary Indigenous arts pose for art criticism. A review of the texts shows that all commentators, whether francophone or anglophone, indigenous or non-Indigenous, have welcomed these two exhibitions warmly. The discrepancy between the number of essays in French and those in English reflects the demographic weight of these two linguistic communities and the geographic distribution of First Nations in Canada. This will qualify, without denying, the hypothesis of Quebec's tardiness on the indigenous question. The authors largely recognize the necessity of initiating indigenization of the museum and emphasize the movement to internationalize contemporary indigenous art. Yet many commentators, particulary Indigenous people, dispute the efficacity of the concept of "strategic essentialism" put forward by the commissioners of the Sakahàn catalog. Despite both a real interest in these two major exhibitions and the quality of the commentary, in the end, for events of such a scale few texts have been published on the subject. The criteria for appreciation rooted in the institutional sociology of art endeavour to fully take into account the challenges posed by certain central aspects of the approach of several Indigenous creators, such as the intangible dimensions of their civic engagement, the dissolution of particular outside venues and the sisterhood of certain projects.
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Cheng, Fung Kei, and Samson Tse. "Thematic Research on the Vimalak?rti Nirde?a S?tra: An Integrative Review." Buddhist Studies Review 31, no. 1 (July 24, 2014): 3–52. http://dx.doi.org/10.1558/bsrv.v31i1.3.
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The current integrative review aims to do the following: first, examine the Chinese and English topical studies on the Vimalak?rti Nirde?a S?tra published from 1900 to 2011; second, analyze the characteristics of those works; third, investigate related study trends through a statistical analysis; and finally, identify research gaps. This review not only offers a comprehensive overview of the available literature on the S?tra retrieved from 25 English and Chinese electronic databases, but also categorizes the 256 selected publications (n=34 English; n=222 Chinese) into eight sub-themes: art (n=36; 14%), book reviews (n=11; 4%), philological studies (n=11; 4%), literature (n=24; 10%), philosophy (n=77; 30%), textual criticism (n=22; 9%), translation (n=56; 22%), and miscellaneous topics (n=19; 7%); thus illuminating different research foci and features between English and Chinese scholars, and also among Chinese researchers in various territories. This project illustrates how an integrative review can be employed in Buddhist studies; it reveals challenges and opportunities related to Buddhist studies, stemming from technology; it suggests collaborative research in Buddhism; and it proposes the application of the philosophy of the S?tra to practical disciplines.
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Belmesova, Maria. "MAIN FEATURES OF THE ART CRITICISM DISCOURSE WITHIN THE TEXTUAL ACTUALIZATION OF THE ENGLISH LINGUO-CULTURAL CONCEPT “PAINTING” (IN THE MONOGRAPH BY G. REYNOLDS. “TURNER. WORLD OF ART.”)." Bulletin of the South Ural State University series Linguistics 13, no. 2 (2016): 62–68. http://dx.doi.org/10.14529/ling160111.
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Yeasmin, Nellufar. "Dirt of Art in Madame Bovary." Journal of English Language and Literature 10, no. 2 (October 31, 2018): 1025–28. http://dx.doi.org/10.17722/jell.v10i2.393.
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Flaubert’s Madame Bovary is a unique literary piece that incorporates aestheticism and witty disposure to Emma’s complex reality. The pronounced acceptance and reputation of the novel despite of a prolonged period of criticism proves that the universal appeal of this French novel lies in the artistic and tactful disclosure (in precisely calculative and measured style) of the dark secrets of a feminine mind. The fact that the English translation of this ingenious creation is so influential attests the superiority of its quality in French. The splendor of the narration overreaches the boundaries of life, experience and death and abounds in the exaltation of becoming a masterpiece. This article illustrates the features that make the manuscript so overwhelmingly “dirty” yet inviting. In course of appreciating the novel, the prospects of readers’ fascination and the author’s intentions are also evaluated from the archive of appreciations of the book. The richness of the story is imparted by the pragmatic effect of the objective correlatives in Falubert’s style and the details of the emotional intensities. This study urges to dismantle the complicated value of literature in realizing life. It also reinforces the poetic justice to prevail where art must exist for its sole sake. Emma, the centre of interest in Madame Bovary, is the ambassador of human beings who fail to achieve the mused state of their existence. Flaubert with his strokes of wisdom and dexterous artistic maneuver reveals the ultimate paradox of anarchy in the social conventions designed to annihilate the self in order to discover it. This study unfolds how the story of shame and guilt turns into an allegory of life by the writer’s magic wand.
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Voinova, Viktoria Vladimirovna, and Ekaterina Alexandrovna Skripkina. "Teaching English-Language Art Criticism Terminology on the Basis of Authentic Literary Texts of the “Painting” Subject Area to Students-Historians." Pedagogika. Voprosy teorii i praktiki, no. 5 (October 2020): 621–26. http://dx.doi.org/10.30853/ped200127.
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Xinyi, Xu, and Wang Feng. "A Study on the Tang Poetry Translation in the Perspective of "Harmony-Guided Three-Level Poetry Translation Criteria"." International Linguistics Research 2, no. 3 (July 31, 2019): p1. http://dx.doi.org/10.30560/ilr.v2n3p1.
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Tang poetry, a treasure of Chinese classical culture and art, is one of the precious representatives of the Chinese historical and cultural heritage. With its rich form, wide range of subjects and unique artistic charm, it represents the highest level of Chinese classical poetry. Based on Dr. Wang Feng's "Harmony-guided Three-Level poetry translation criteria", this paper compares and analyzes four English versions of different styles in different periods of Li Bai's "Qing Ping Melody (three poems)", and demonstrates that the theory is reasonable and feasible as the principle of poetry translation practice and criticism, aiming to encourage researchers to pay more attention to the field of Tang poetry translation and promote the further dissemination of Chinese classical poetry.
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de Graef, Ortwin. "Congestion of the Brain in an Age of Unpoetrylessness: Matthew Arnold's Digestive Tracts for the Times." Victorian Literature and Culture 26, no. 1 (1998): 87–103. http://dx.doi.org/10.1017/s1060150300002291.
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“Kan kunst de wereld redden?” When Antwerp was cultural capital of Europe in 1993, this question — “Can art save the world?” — was adopted as one of the city's official slogans, prompting the mayor at the time, Bob Cools, to offer his contribution to an answer by way of a quotation: “Culture is to know the best that has been said and thought in the world.” As his source Cools mentioned Literature and Dogma, but in order to register accurately the phrase's critical relation to the salvation of and by culture, we must at least retrace it to its origin in Arnold's work, “The Function of Criticism at the Present Time.” In that essay, Arnold famously argues for the logical priority of criticism over poetry, claiming that poetry can only thrive when it has at its disposal the “materials” of literary creation, the high-quality “ideas” which it is the province of criticism to furnish (270).” The business of criticism is “simply to know the best that is known and thought in the world, and by in its turn making this known, to create a current of true and fresh ideas” (270). Measured by this standard, Arnold finds his own English modernity sadly deficient, representative of “the modern situation in its true blankness and barrenness, and unpoetrylessness” (Letters 126), and bereft of “just that very thing which now Europe most desires, — criticism” (“Function” 258). For in England, more than anywhere else, the critical spirit suffers from the short-sighted pragmatism and innate mindlessness that render the British immune to ideas, a fundamental philistinism that deprives the creative faculty of its materials and stifles the genuine development of criticism according to “the idea which is the law of its being: the idea of a disinterested endeavour to learn and propagate the best that is known and thought in the world, and thus to establish a current of fresh and true ideas” (“Function” 282).
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Buda, Agata. "In the postmodern mirror: intertextuality in Angels and Insects by Antonia Susan Byatt." Journal of Language and Cultural Education 3, no. 2 (May 1, 2015): 66–70. http://dx.doi.org/10.1515/jolace-2015-0015.
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Abstract The aim of the paper is to analyse the novel Angels and Insects by Antonia Susan Byatt in terms of intertextual references. The author’s assumptions are based on the categorisation by Ryszard Nycz, who distinguishes three major types of intertexts: text versus text, text versus literary genre and text versus mimesis. Byatt uses intertextuality mainly to comment on the role of nature in the world, as well as to enhance the importance of human relationship with nature. Moreover, the writer moves towards literary criticism, discussing poems by famous artists, such as Alfred Tennyson or John Milton. In this way, the novel by Byatt is also an example of metafiction. All the narration techniques used by the English writer make the novel a typically postmodern work of art.
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Linden-Ward, Blanche. "Putting the Past under Grass: History as Death and Cemetery Commemoration." Prospects 10 (October 1985): 279–314. http://dx.doi.org/10.1017/s0361233300004130.
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“Our age is retrospective,” Emerson observed in 1836. “It builds the sepulchres of the fathers. It writes biographies, histories, and criticism.” Emerson identified a phenomenon far greater than the literary production of the New England Renaissance. He put his finger on an attitude toward the past that was quite new, yet was imitative rather than provincial and idiosyncratic. The Americans of Emerson's time developed a commemorative consciousness similar to that of the English and French. Following revolutions, all three nations attempted to redefine their pasts in material as well as literary terms. Inspired by Enlightenment philosophy, they considered the processes of nature metaphors for history, and they looked to the Arcadian periods of classical civilizations for precedents of the balanced blending of Art and Nature indicative of a certain sense of the past not associated with their own medieval histories.
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Balfour, Ian. "Adapting to the Image and Resisting It: On Filming Literature and a Possible World for Literary Studies." PMLA/Publications of the Modern Language Association of America 125, no. 4 (October 2010): 968–76. http://dx.doi.org/10.1632/pmla.2010.125.4.968.
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Predicting any future—or futures—for literary criticism is a risky business, perhaps all the more so now that the relation of literature to its others is arguably subject to greater and faster changes than ever before. The changes to come in literary criticism will be determined by transformations in literature proper as well as by any number of forces outside literature. By changes “within” literature we cannot mean simply those to contemporary or recent literature, whose canons—to say nothing of what exceeds these canons—are far from settled. The literary past continues to change even if every given text endlessly repeats itself like a broken record. For an authoritative formulation of this position, one need not turn to some outré poststructuralist or to Walter Benjamin's contention that even the dead are not “safe” from the reaches of the present (“On the Concept” 391). One can appeal to the sober, usually conservative thinking of T. S. Eliot:The existing monuments form an ideal order among themselves, which is modified by the introduction of the new (the really new) work of art among them. The existing order is complete before the new work arrives; for order to persist after the supervention of novelty, the whole existing order must be, if ever so slightly, altered; and so the relations, proportions, values of each work of art toward the whole are readjusted; and this is conformity between the old and the new. Whoever has approved this idea of order, of the form of European, of English literature, will not find it preposterous that the past should be altered by the present as much as the present is directed by the past. (38)
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Malilang, Chrysogonus Siddha. "Drawing Maps for Research in Creative Writing through A/r/tography." Journal of Urban Society's Arts 4, no. 2 (December 26, 2018): 71–88. http://dx.doi.org/10.24821/jousa.v4i2.2158.
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The return of Creative Writing to the academia was intended as an answer to rigid approaches employed in the nineteenth century’s teaching of English Literature. This comeback has since brought back a new perspective in seeing body of literature as a living body but at the same time also introduced clash between dominating research paradigm in the academia. The writers who were hired to teach creative writing tended to prioritise their creative practice, while the general consensus in academia called for more theoretical-oriented research. In order to compromise, the practice-based research method was born. Despite various justifications that creative process is the same as research inquiry, the heavier emphasis on creative works in this method still invites criticism, such as the lack of research rigour (Biggs & Büchler, 2007). New framework to balance and bridge practice and research rigour is thus needed – especially one that can accommodate the non-linear thinking trajectories in creative practices. Due to the possible non-linearity, the new research platform should not follow the reigning ‘arborescent scheme’ in the academic research tradition, but incorporate the concept of Deleuzian rhizome. A/r/tography – developed based on the premise of art and art creation as a rhizomatic process / activity – is proposed as one of the potential practices for creative writing research. The non-linear view of a/r/tography towards arts practices suggests a rhizomatic role in the mapping of creative writing process. As it addresses and accommodates multiplicities, a/r/tography also facilitates non-native English speakers to conduct and map his journey in art creation and research inquiry. Author’s project of writing a collection of bilingual poems based on classical Javanese song cycle – Sekar Macapat – is presented to illustrate the claim.
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Beirne, Piers. "Raw, roast or half-baked? Hogarth’s beef in Calais Gate." Theoretical Criminology 22, no. 3 (August 2018): 426–44. http://dx.doi.org/10.1177/1362480618787174.
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Scholars of human–animal studies, literary criticism and art history have paid considerable attention of late to how the visual representation of nonhuman animals has often and sometimes to great effect been used in the imagining of national identity. It is from the scrutinies of these several disciplines that the broad backcloth of this article is woven. Its focus is the neglected coupling of patriotism and carnism, instantiated here by its deployment in William Hogarth’s painting Calais Gate (1749). A pro-animal reading is offered of the English artist’s exhortation that it is in the nature of ‘true-born Britons’ to consume a daily dish of roast beef served with lashings of francophobia and anti-popery. The article suggests that alert contemporary viewers of Calais Gate would nevertheless have noticed that Hogarth’s painterly triumphalism ironically rekindles the repressed memory of English military defeat and territorial loss. Because the political and religious borders between England and France were so easily defaced and refaced, the accompanying air of uncertainty over national identity would also have infiltrated the perceived authenticity of English roast beef. The article draws on animal rights theory, on nonspeciesist green criminology and on green visual criminology in order to oppose the historical dominance of human interests over those of other animal species in discourses of abuse, cruelty and harm.
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Karmakar, Goutam. "A Theological Study of Nissim Ezekiel’s Religious Outlook." Asian Journal of Humanity, Art and Literature 2, no. 2 (December 31, 2015): 71–76. http://dx.doi.org/10.18034/ajhal.v2i2.296.
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As the centuries passed by, the galaxy of Indian English Poetry become increasingly crowded. But the scenario was not like this during the early years. It is because only a few stars shine there, and Nissim Ezekiel is the pole star. His poetry contains so many aspects, themes, motives and symbols that sharpen and shape his poetic world. His poetry often shows irony, emotion, love, man-woman relationship, self- consciousness, a sense of discipline and self – criticism. He shows his concern for both modern and urban art and culture with the touch of Indian ethos and local colour. But as an Indian poet, he shows his thinking about God and religion in a vivid way. He also shows his changing view towards God and Indian theology in his poems. In this paper, I have tried to show Ezekiel’s religious outlook and aspects through some of his verses.
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Soukup, Barbara. "Survey area selection in Variationist Linguistic Landscape Study (VaLLS)." Linguistic Landscape. An international journal 6, no. 1 (March 16, 2020): 52–79. http://dx.doi.org/10.1075/ll.00017.sou.
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Abstract This article addresses the unresolved issue of systematic survey area selection for large-scale quantitative Linguistic Landscape (LL) studies. It presents a strategy of ‘hypothesis-driven stratified sampling’ whereby survey areas are picked out in a nested, multi-step process on the basis of the configuration of local LL audiences (regarding age, multilingualism, and tourism) and ambient activity types (commercial vs. residential). The rationale for this strategy is drawn from variationist sociolinguistics; and the undertaking is accordingly cast as ‘Variationist Linguistic Landscape Study (VaLLS)’. The details of the design are showcased and implications discussed in the context of the large-scale project ‘ELLViA – English in the Linguistic Landscape of Vienna, Austria’. More generally, it is shown how the application of state-of-the-art variationist principles and methodology to quantitative LL research significantly enhances the latter’s scientific rigor, which has been a major point of criticism.
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Lubas-Bartoszyńska, Regina. "Tłumaczka Aleksandra Olędzka-Frybesowa jako eseistka i poetka." Przestrzenie Teorii, no. 31 (December 6, 2019): 373–86. http://dx.doi.org/10.14746/pt.2019.31.20.
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This article presents the essays and poems of Aleksandra Olędzka-Frybesowa, who was a renowned translator from French and also English. In her essays, Olędzka-Frybesowa specialises in the Romanesque and Gothic architecture and sculpture of Western Europe as well as European painting from Medieval Ages onwards. She is also familiar with the art of South-East Europe. Her essays cover literary criticism devoted especially to poetry, with a particular interest in French and mystical poetry, as well as haiku, which was also her own artistic activity. The author of this article analyses Olędzka-Frybesowa’s ten volumes of poems, which follow a thematic pattern, especially the theme of wind (air). The analysis provides various insights into a variety of functions of this particular theme, from reality-based meanings to mystical and ethical features. This variety of funtions of the wind theme is supported by a particular melody of the poem and its abundant use of metaphors.
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Senelick, Laurence. "Stanislavsky's Second Thoughts on ‘The Seagull’." New Theatre Quarterly 20, no. 2 (April 21, 2004): 127–37. http://dx.doi.org/10.1017/s0266464x0400003x.
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Stanislavsky's first production of The Seagull is well documented in English, in The Seagull Produced by Stanislavsky, edited by S. D. Balukhaty in 1952. But little is known of his exploratory work on an intended second production almost two decades later amidst the turmoil of the revolutionary period, and the rehearsal notes made by Stanislavsky's assistant Pyotr Sharov remained unpublished even in Russian until 1987. Here, Laurence Senelick provides the first English translation of these notes, contextualizing them with an account of the difficulties under which Stanislavsky and the Art Theatre were working at the time. Laurence Senelick is Fletcher Professor of Drama and Oratory at Tufts University, and a long-time contributor to TQ and NTQ, which published his articles on the Craig–Stanislavsky Hamlet, serf theatre in Russia, and Wedekind and Lenin at the music hall. His last book, The Changing Room: Sex, Drag, and Theatre, won the George Jean Nathan award as the best work of dramatic criticism of 2000–01, and his previous book, The Chekhov Theatre: a Century of Plays in Production, won the Barnard Hewitt award of the American Society of Theatre Research. He is currently translating and editing the complete plays and dramatic fragments of Anton Chekhov for Norton Publishers.
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Tkachuk, Olena. "MULTICULTURALISM BY CONRAD-EMIGRANT." Polish Studies of Kyiv, no. 35 (2019): 376–80. http://dx.doi.org/10.17721/psk.2019.35.376-380.
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The article is devoted to the problem of the multiculturalism by Joseph Conrad, the English writer and the world classic of the 20th century, who, due to the preservation of his Polish national-cultural identity, and by estrangement from this identity in his artistic consciousness, was able to influence the intellectual and artistic atmosphere in England of his times. In this way, the Polish identity became a background for Conrad’s artistic creativity, and at the same time, universal values and criteria were the key to the successful acculturation in English society in its one of the most effective strategies – the integration strategy. In this case Conrad acquired another national-cultural identity, English, – while retaining his native, Polish. Undoubtedly, one of the most important issues touched by almost all researchers is his arrival in English literature, a Pole in origin, who only arrived in England in the twenty-first year, actually emigrating, and for a very short time becaming a venerable writer. It should be noted that, taking into account the peculiarities of English mentality, the task was rather uneasy. All this undoubtedly led to the development of a variety of approaches to understanding the creative personality and rich heritage of Joseph Conrad. Foreign literary and critical academic circles, which introduced the concept of «new English literature» (meaning the post-colonial period), do not take into account such figures of the English literary process as Joseph Conrad, whose work falls out of its chronological framework, and indicates that multicultural literature appeared on the approaches to the twentieth century. However, only nowadays it was possible that such an approach was based on the principles of multiculturalism, that is, the phenomenon justified in the 90s of the XX century, although, as the majority of scholars testify, it existed for a long time in cultural studies, literary criticism, art history and philosophy. We have chosen this approach. The research is devoted to the study of the problems of national-cultural identity by Joseph Conrad, as well as the mechanism of his acculturation in the conditions of emigration.
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Bese, Ahmet. "1930’lu Yıllar Amerikan Tiyatrosunda Toplumsal Eleştiri ve Clifford Odets." BORDER CROSSING 8, no. 2 (December 11, 2018): 455–64. http://dx.doi.org/10.33182/bc.v8i2.624.
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Yazın ve sanat ürünlerinin, yaratıldığı dönemde yaşanan politik, toplumsal ve ekonomik koşullardan etkilendiği yadsınamaz bir gerçektir. Amerika’da, 1930’lu yılların ekonomik dengesizlikleri, kıtlık ve sınıf ayırımı gibi ‘Büyük Bunalım’ (Great Depression) yıllarının olumsuz etkileri, Nazizm ve ırk ayırımı gibi sorunlar, II. Dünya Savaşı’nın doğum sancıları ve bunlara bağlı olarak toplumun değer yargılarında yaşanan radikal değişimler, dönemin özellikle genç kuşak yazar, sanatçı ve aydınlarını sistemin sorgulanması/değişmesi yönünde belirli bir politik seçenek arayışına yönlendirir. Amerika’da ortaya çıkan genç kuşak yazarlar sisteme karşı toplumsal eleştiri ve yeni bir politik hareket düşüncesinde birleşirler. Bu yazarlar arasında Clifford Odets’in yapıtları yaşadığı dönemin politik, tarihsel ve kültürel yapısını en çarpıcı biçimde yansıtmaktadır (Beşe 143-158). 1935’te yazdığı, Waiting for Lefty, Awake and Sing!, Till the Day I Die, Paradise Lost ve tek perdelik I Can’t Sleep adlı ilk oyunlarıyla başlayan çıkışı, Odets’i bir anda Amerikan tiyatrosunun merkezine taşır. Bu çalışmanın amacı, döneminin önemli yazarı olarak Clifford Odets’in toplumsal eleştiri açısından önemine işaret etmektir.Abstract in English The Social Criticism and Clifford Odets in The 1930s American TheaterLiterary and art products are influenced by the political, social and economic conditions of the time they were created. The Great Depression of the 1930s in America and its negative effects such as the economic imbalances, famine and class distinction as well as problems such as Nazism and racial discrimination in the eve of the World War II and the resultant decline in the value judgments of the society lead especially young generation writers to search for a radical changes and a new political option in terms of the system. In other words, these young generation writers unite in the idea of social criticism and a new political movement against the system. Among these writers, Clifford Odets' works reflect the political, historical and cultural structure of his time in a most striking way (Beşe 143-158). His first plays written in 1935, Waiting for Lefty, Awake and Sing! Till the Day I Die, Paradise Lost and a one act, I Can’t Sleep carry Odets to the center of American theatre. The aim of this study is to point out the importance of Clifford Odets in terms of social criticism.
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GAVIN, Polina I., and Olga B. PONOMAREVA. "THE LINGUO-COGNITIVE ASPECT OF EKPHRASTIC REFERENCES IN A LITERARY TEXT (BASED ON THE WORKS BY D. RUBINA AND M. ATWOOD)." Tyumen State University Herald. Humanities Research. Humanitates 7, no. 1 (2021): 62–79. http://dx.doi.org/10.21684/2411-197x-2021-7-1-62-79.
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The following article explores ekphrasis as a literary device in the context of the Russian and English language literary texts. The phenomenon of ekphrasis is regarded to be a relatively researched area in the literary criticism. However, the majority of the existing research focuses on the visual representations in the verbal medium, thereby neglecting the aspect of the reader’s possible interpretation of an ekphrastic description and its stylistic expression in a literary text. Thus, the aim of this article is to identify the specific language patterns constructing ekphrastic references in the Russian and English language literary texts by conducting a comparative linguo-cognitive analysis of ekphrastic intertextual references in Dina Rubina’s ‘On the Sunny Side of the Street’ (2006) and Margaret Atwood’s ‘Cat’s Eye’ (1988). The research is based on the comparative linguo-cognitive analysis combining the following cognitive poetic techniques: the ‘figure — ground’ dichotomy, the model of literary resonance, and the narrative interrelation theory. The analysis of the figure-ground relations in ekphrastic descriptions has shown that the main character takes the figure position and becomes a pronounced attractor, thereby exerting an affective influence on the reader’s perception. The application of the literary resonance model confirms this claim by identifying typical semantic, syntactic and stylistic features (attractors) of the character in the analysed ekphrastic passages. The comparison of an ekphrastic description to a passage which it is based on has revealed the characteristic parallelism of their syntactic and semantic patterns. In part, parallel constructions contain specific intertextual references that create links to an art object, thus actualising the representation of a picture in the reader’s perception. A comparative linguo-cognitive analysis of ekphrastic references in Russian and English literary texts has shown the possible intratextuality of ekphrastic references, which establish the relationships between plots within the narrative. Additionally, in both literary texts, ekphrastic references imitate the visual construction of an object of art at the semantic, syntactic and textual levels and, as a result, accentuate the metaphorical realisation of the presented artefact.
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Zakharov, Vladimir N. "The Idea of Ethnopoetics in Contemporary Research." Проблемы исторической поэтики 18, no. 3 (July 2020): 7–19. http://dx.doi.org/10.15393/j9.art.2020.8382.
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<p>In recent decades, ethnopoetics has become one of the new philological disciplines. Its idea first appeared in the treatise of Nicolas Boileau “The Art of Poetry” (1674), in which the classicist theorist formulated the requirement of local and historical color in art. His rule was followed by many poets, playwrights and novelists of Modern history. In Anglo-American criticism, the term ethnopoetics was introduced in 1968. Jerome Rotenberg, who, along with Dennis Tedlock and Dell Himes, founded the principles and methods of studying American Indian poetry. In the 2000s. this concept has entered encyclopedic dictionaries in English and other European languages, but this word is still not in Russian terminological dictionaries. So far, the concept of poetics, which restricts the semantics of words forming a term, has received recognition. Already in the process of formation of ethnopoetics, its subject was expanded at the expense of middle Eastern and Jewish folklore, and later the oral creativity of other peoples. The word formation model (ἔθνος/ ethnos + ποιητική/poetics) cancels limited interpretations of the term. In modern usage, the term ethnopoetics is used in a wide range of meanings that have not yet been marked by lexicographers, but convey the full semantics of the words forming the term. The idea of ethnopoetics gave rise to not one, but several of its concepts. The author of the article develops his earlier understanding of ethnopoetics as a discipline that should study the national identity of the oral and written text, describe in the categories of poetics the specific things that make national literature national. It is characterized by concepts and conceptospheres, they form the mentality, reveal the cultural code of national literatures. The analysis of ethnopoetics opens up great opportunities in the comparative analysis of thesauri of different authors and their works.</p>
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Freeman, Lisa A. "On the Art of Dramatic Probability: Elizabeth Inchbald's Remarks for The British Theatre." Theatre Survey 62, no. 2 (April 6, 2021): 163–81. http://dx.doi.org/10.1017/s0040557421000053.
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In 1806, Longman & Co. publishers commissioned the accomplished actress, playwright, and novelist Elizabeth Inchbald to compose a series of prefatory remarks for the plays to be included in their British Theatre series. One hundred and twenty-five in all, each of the plays for Longman's British Theatre was originally published and sold separately at a rate of about one per week. Once the series was complete, the plays were bound together and sold as a twenty-five-volume set. As the surviving diary entries from the two-year period during which she wrote her Remarks testify, the task proved both arduous and unrelenting for Inchbald, especially as she had no hand in selecting the plays to be included and no control over the order in which she was asked to compose her critical commentaries. Working almost constantly, no sooner had she read one play, drafted her remarks, and copyedited the proof, than she had to turn to the next play sent by Longman, collect her thoughts, and start the process all over again. For the most part, as Annibel Jenkins has noted, “[T]here seems to be no pattern of publishing by date or genre; a tragedy by Shakespeare came out one week and a contemporary comedy the next.” At one point, the strain of this process was so unbearable that Inchbald even tried to renege on her contractual obligations, writing to Longman, “begging to decline any further progress.” This request, as her first biographer, James Boaden, records, Longman “could not be expected to permit; and she was therefore compelled to remark through the whole year.” In the event, and however “dreadful” the task may have been for Inchbald, the widely advertised series proved a “great commercial success,” and Inchbald's Remarks have come down to us as one of the first great achievements in English dramatic criticism of the early nineteenth century.
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Haarder, Andreas. "Det umuliges kunst." Grundtvig-Studier 37, no. 1 (January 1, 1985): 87–89. http://dx.doi.org/10.7146/grs.v37i1.15945.
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The Art of the ImpossibleA Grundtvig Anthology. Selections from the writings of N. F. S. Grundtvig.Translated by Edward Broadbridge and Niels Lyhne Jensen.General Editor: Niels Lyhne Jensen. James Clarke, Cambridge & Centrum, Viby 1984.Reviewed by Professor Andreas Haarder, Odense UniversityHow can Grundtvig ever be translated? Professor Haarder considers it well-nigh impossible, which does not mean, however, that the attempt is not worth making. But he has some criticism of various things which need correcting for a later edition. In particular the translation of the words folkeh.jskole and Norden and the use of different terms for the same concept. He would prefer “folk high school” and “the North”, “Nordic” or “Norse”, and he thinks that the word “Scandinavia” should be avoided. The reason is that it is difficult to understand what a folk high school actually is, and that the Nordic past for Grundtvig included the English. The term “folk high school” is used elsewhere, for example in the Danish Institute’s book on Grundtvig. Professor Haarder praises the idea and the planning of the book, but he also notes too many printing errors and deficiencies in the notes.In Haarder’s opinion the most successful translations are of the sermons and the simplest songs. The selection from Norse Mythology reads well in English, which surprises him somewhat because of Grundtvig’s very intricate style. Some of that inspiration is missing from The School for Life, in both the original and the translation, but the text is pioneer work and worth including. As “a particular type of prose” he finds the extracts from Elementary Christian Teachings also readable in English. With regard to the poetry, he agrees with the editor that “It has not been Grundtvig’s good fortune to find a translator who combines a grasp of his vision with a gift of imagery matching his.” Andreas Haarder ends with a word of thanks for the step that has been taken with this anthology of Grundtvig in English.
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Amineva, Venera R., and Landysh N. Yuzmukhametova. "Self-Identification of Ravil Bukharayev’s Lyrical Subject (as seen in A Wreath of Wild-Growing Sonnets)." Polylinguality and Transcultural Practices 16, no. 1 (December 15, 2019): 63–72. http://dx.doi.org/10.22363/2618-897x-2019-16-1-63-72.
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The works by Ravil Bukharayev (1951-2012) - who created his poetic texts in Russian, Tatar, English, and Hungarian and was involved in the Tatar literature and culture - possess a special art and esthetic nature, which demands evidence-based and adequate esthetic assessment. An attempt to reveal the functioning features of this genre and strophe form is made for the first timein the modern Russianspeaking poetry on the material of A Wreath of Wild - Growing Sonnets , a cycle of poems by R. Bukharayev. The methodical studying system of the works, which are created on a joint of cultures, thus embodying new forms of a “hybrid” identity, relies on the doctrine about the dialogical nature of art creativity and on the theory of a trans-level of culture developed in foreign and domestic literary criticism. The conclusion is drawn that the wreath of sonnets stops being a static form in R. Bukharayev’s lyrics, and its genre semantics is formed only by its composite structure. The art integrity of this genre and strophe system is created not only by a “chained” design of a wreath connecting the end and the beginning of all cyclic context in general, but also by a concentric principle of the main subject development. It is defined that the subjective architectonics of this sonnet cycle is formed by the relations of the lyrical hero and special-type supersubjects - personified images of foreign culture. The main ways of overcoming the border between “own” and “other” are described in the article as follows: to study Hungarian which performs a replaceable function and to study the works. They are allocated with mythological features and find one-to-one correspondences: nature and person, “own” and “other”, silence and a word, lines of a sonnet and flowers in a bouquet. The received results are significant for understanding the art and esthetic nature of the “boundary” phenomena in the modern literary process.
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Peyre, Henri. "1960: Facing the New Decade." PMLA/Publications of the Modern Language Association of America 115, no. 7 (December 2000): 1862. http://dx.doi.org/10.2307/463587.
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If ours is a young man's world, it is also a woman's world. Some of us who are fortunate to have women among our graduate students and as young colleagues are extraordinarily impressed by the high level of their work. Indeed, we often wonder if criticism will not make substantial strides forward, blending the cognitive and the affective values, taste and a rational approach, the logic of the intellect and that of the heart, only when women take over a large share of it, as they are now out-numbering men as teachers of English and of languages in many schools. This country witnessed a bold feminist movement several decades ago. The second sex then conquered all the rights and courageously accepted corresponding duties. College presidents in women's colleges were in many cases women. In anthropology, archeology, psychology several American women have been outstanding. So have they been in journalism. Why not to the same extent today in philology, medieval studies, literary history, criticism? Are men to blame, wary of these potential rivals, preferring to utilize women's generosity and their capacity for devoted attachment by keeping them as secretaries and obedient confidents of their profound male cogitations? Have women put so much energy in once winning equality and security that they are now content to enjoy these rights, and to look upon maternity and procreation without tears and without anesthesia as their sole vocation? Men in any case have the duty to make room for them, to incite them to express themselves more boldly, to elect them to more positions of power in this Association and in others, to ask them for the healthy challenge which our duller brains need to receive from their keener perceptiveness in matters of art and literature.
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Wildgoose, Jane. "FINIS: Objects of the End of Time, Afterlife Writing and Situation of Graves." European Journal of Life Writing 9 (July 6, 2020): LW&D313—LW&D343. http://dx.doi.org/10.21827/ejlw.9.36912.
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Focusing on Hogarth’s last graphic work, The Bathos, this essay examines the ways in which the vanitas themes it represents are bound up with events that occurred towards the end of the artist’s life. Drawing on life writing (including elements of Hogarth’s autobiographical notes) that accompanied the cataloguing of his works in the years following his death, it discusses a number of controversies that drew scathing criticism of his work, his character, his politics, his ideas about English art and his standing as an artist, during his final years. Focusing on textual and visual images employed by Hogarth’s detractors to belittle him, it explores how these metaphors may be connected with the iconography he employed in The Bathos, and the extent to which the work may be ‘read’ as a representation of the artist himself, and his view of his reputation at the end of his career. Contrasting the pessimistic image Hogarth presents in his final work with the afterlife writing of his achievements by his contemporaries, it concludes with reflection on the role that his grave continues to play in celebrating his life and his status as one of the most talented and innovative artists of the eighteenth century.
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Dmitriev, Igor S. "The Gay Science of Francis Bacon." Epistemology & Philosophy of Science 57, no. 1 (2020): 181–201. http://dx.doi.org/10.5840/eps202057114.
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The article is the study of some aspects of the methodology of scientific knowledge that F. Bacon addressed in his treatise “New Organon” (1620) and in other works in one way or another related to his work on the project of the Instauratio Magna Scientiarum. The article focuses on the following three questions: Bacon’s attitude to Aristotle’s legacy, the context of Bacon’s doctrine of idols and the reasons for the English philosopher to choose a fragmented (aphoristic) form of presentation of his ideas in the “New Organon” and in some other works. Based on an analysis of Bacon’s works related to the above project, it was shown that his statements about Aristotle and his philosophy were differentiated depending on whether the corresponding text was intended for printing or served as a working draft. In the latter case, the estimates of Aristotle by Bacon were more stringent. Baconian criticism of Aristotelianism was formed in the context of the development by the English philosopher of the doctrine of the idols of knowledge. The article shows that developing this doctrine, Bacon proceeded from the idea of mass insanity of the human race (insania publica), which has ancient roots and was shared by a number of contemporaries of F. Bacon. At the same time, the latter considered Aristotle as the creator of “a kind of art of insanity (artemque quondam insaniae componere)”. As a cure for “insania universalis”, Bacon proposed a new method (the “new organon”) of cognition, and the presentation of his ideas in the form of separate, but conceptually related aphorisms, as a way of activating the reader’s thought process.
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Sunarto, Bambang. "Adangiyah." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 16, no. 1 (May 5, 2021): iii—iv. http://dx.doi.org/10.33153/dewaruci.v16i1.3601.
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This edition is the first issue of Dewa Ruci’s Journal, in which all articles are in English. We deliberately changed the language of publication to English to facilitate information delivery to a wider audience. We realize that English is the official language for many countries rather than other languages in this world. The number of people who have literacy awareness and need scientific information about visual and performing arts regarding the archipelago’s cultural arts is also quite large.The decision to change the language of publication to English does not mean that we do not have nationalism or are not in love with the Indonesian language. This change is necessary to foster the intensity of scientific interaction among writers who are not limited to Indonesia’s territory alone. We desire that the scientific ideas outlined in Dewa Ruci’s Journal are read by intellectual circles of the arts internationally. We also want to express our scientific greetings to art experts from countries in New Zealand, the USA, Australia, Europe, especially Britain, and other English-speaking countries such as the Philippines, India, Pakistan, Zimbabwe, the Caribbean, Hong Kong, South Africa, and Canada. Of course, a change in English will also benefit intellectuals from countries that have acquired English as a second language, such as Malaysia, Brunei, Israel, Malaysia, and Sri Lanka. In essence, Dewa Ruci’s Journal editor wants to invite writers to greet the scientific community at large.We are grateful that six writers can greet the international community through their articles. The first is Tunjung Atmadi and Ika Yuni Purnama, who wrote an article entitled “Material Ergonomics on Application of Wooden Floors in the Interior of the Workspace Office.” This article discusses office interiors that are devoted to workspaces. The purpose of this study is to share knowledge about how to take advantage of space-forming elements in the interior design of a workspace by utilizing wooden floors like parquet. The focus is on choosing the use of wood by paying attention to the elements in its application. This research result has a significant meaning in the aesthetics, comfort, and safety of wooden floors in the workspace’s interior and its advantages and disadvantages.The second writer who had the opportunity to greet the Dewa Ruci Journal audience was intellectuals with diverse expertise, namely Taufiq Akbar, Dendi Pratama, Sarwanto, and Sunardi. Together they wrote an article entitled “Visual Adaptation: From Comics to Superhero Creation of Wayang.” This article discusses the fusion and mixing of wayang as a traditional culture with comics and films as contemporary culture products. This melting and mixing have given birth to new wayang creations with sources adapted from the superhero character “Avenger,” which they now call the Avenger Wayang Kreasi. According to them, Wayang Kreasi Avenger’s making maintains technical knowledge of the art of wayang kulit. It introduces young people who are not familiar with wayang kulit about the technique of carving sungging by displaying the attributes in the purwa skin for Wayang Kreasi Avenger. This creativity is an attempt to stimulate and show people’s love for the potential influence of traditional cultural heritage and its interaction with the potential of contemporary culture.The next authors are Sriyadi and RM Pramutomo, with an article entitled “Presentation Style of Bedhaya Bedhah Madiun Dance in Pura Mangkunegaran.” This article reveals a repertoire of Yogyakarta-style dance in Mangkunegaran, Surakarta, namely the Bedhaya Bedhah Madiun. The presence of this dance in Mangkunegaran occurred during the reign of Mangkunegara VII. However, the basic character of the Mangkunegaran style dance has a significant difference from the Yogyakarta style. This paper aims to examine the Bedhaya Bedhah Madiun dance’s presentation style in Mangkunegaran to determine the formation of its presentation technique. The shape of the Bedhaya Bedhah Madiun dance style in Mangkunegaran did not occur in an event but was a process. The presentation style’s formation is due to a problem in the inheritance system that has undergone significant changes. These problems arise from social, political, cultural, and economic conditions. The responses to these problems have shaped the Bedhaya Bedhah Madiun dance's distinctive features in Mangkunegaran, although not all of them have been positive.Hasbi wrote an article entitled “Sappo: Sulapa Eppa Walasuji as the Ideas of Creation Three Dimensional Painting.” This article reveals Hasbi’s creative process design in creating three-dimensional works of art, named Sappo. He got his inspiration from the ancient manuscripts written in Lontara, namely the manuscripts written in the traditional script of the Bugis-Makassar people on palm leaves, which they still keep until now. Sappo for the Bugis community is a fence that limits (surrounds, isolates) the land and houses. Sappo’s function is to protect herself, her family, and her people. Sulapa Eppa means four sides, is a mystical manifestation, the classical belief of the Bugis-Makassar people, which symbolizes the composition of the universe, wind-fire-water-earth. Walasuji is a kind of bamboo fence in rhombus rituals. Eppa Walasuji’s Sulapa is Hasbi’s concept in creating Sappo in the form of three-dimensional paintings. The idea is a symbolic expression borrowing the Lontara tradition's idiom to create a symbolic effect called Sappo.Mahdi Bahar and his friends wrote an article entitled “Transformation of Krinok to Bungo Krinok Music: The Innovation Certainty and Digital-Virtual Contribution for Cultural Advancement.” Together, they have made innovations to preserve Krinok music, one of Jambi’s traditional music themes, into new music that they call Bungo Krinok. He said that innovation is a necessity for the development of folk music. In innovating, they take advantage of digital technology. They realize this music’s existence as a cultural wealth that has great potential for developing and advancing art. The musical system, melodic contours, musical grammar, and distinctive interval patterns have formed krinok music’s character. This innovation has given birth to new music as a transformation from Jambi folk music called “Bungo Krinok” music.Finally, Luqman Wahyudi and Sri Hesti Heriwati. They both wrote an article entitled “Social Criticism About the 2019 Election Campaign on the Comic Strip Gump n Hell.” They explained that in 2019 there was an interesting phenomenon regarding the use of comic strips as a means of social criticism, especially in the Indonesian Presidential Election Campaign. The title of the comic is Gump n Hell by Errik Irwan Wibowo. The comic strip was published and viral on social media, describing the political events that took place. In this study, they took three samples of the comic strip Gump n Hell related to the moment of the 2019 election to analyze their meaning. From the results of this study, there is an implicit meaning in the comic strip of pop culture icons' use to represent political figures in the form of parodies.That is the essence of the issue of Volume 16 Number 1 (April Edition), 2021. Hopefully, the knowledge that has been present in this publication can spur the growth of visual and performing art science in international networks, both in the science of art creation and in scientific research of art in general. We hope that the development of visual and performing art science can reveal the various meanings behind various facts and phenomena of art life. Therefore, the growth of international networks is an indispensable need.Thank you.
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Ahmad Bhat, Zubair. "Resistance in Literature: A Close Reading of Charles Dickens’ Hard Times and Little Dorrit." International Journal of Applied Linguistics and English Literature 8, no. 2 (March 31, 2019): 120. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.2p.120.
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Literature is the reflection of life or society. Whatever is going on in the society it reflects all. It may be any aspect of the society such as, political, historical, economical, religious, educational or administrational. All these driving forces of the society are being reflected by the literature. Literature on the whole encompasses all these parameters of the society. Resistance is always present in literature or in its genres. It may be present least or most, but it depends, whether it is expressed or not. From the evolution of English literature, English was mainly written in the genre of poetry, prose and drama in medieval era, but with the advent of advancement it takes other forms as well in the coming eras such as novel and novella. Many writers or authors from time to time put forward their issues in front of the society through their writings. They either satire their society indirectly or they put their issues in front of the society or governing bodies. Either they dissatisfied by the system or they revolt against them. A Modest Proposal by Jonathan Swift or Animal Farm by George Orwell, are satires on the political system of their era. But with the passage of time resistance in literature take dominant form in English literature as Resistance literature in the Third World. It encompasses the literature of third world writers especially of the colonized and imperialized ones. It covers all the dimensions of third world literature such as political, historical and sociological. By the introduction of Barbara Harlow’s Resistance Literature which is a ground breaking work in western literature, the third world literature came into being recognized and it was once avoided; now it is being studied in most of the western universities. Harlow not only presents new writing but a new critical perspective through Resistance Literature and part of her argument is that works written in the context of resistance does not allow for an independent approach, but instead requires an abandoning of the western model of criticism that renders art as apolitical. This paper analyses Dickens’ works as a precursor of resistance in literature and it especially takes into account Little Dorrit and Hard Times as revolting works.
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BELAL, Yamina, and Ghania Ouahmiche. "Literature in the Algerian EFL Bachelor of Arts degree: Reading Literature." Arab World English Journal 12, no. 2 (June 15, 2021): 330–47. http://dx.doi.org/10.24093/awej/vol12no2.23.
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Given the acknowledged and undeniable advantages of literature in language education, it has been integrated into EFL curricula for undergraduate students as an essential subject. In the Algerian English departments before the reform introduced in the last two decades (the Licence, Master, doctorate system), literature used to have a privileged status in terms of the number of courses and number of classes or tutorials. However, after the reform, the importance of literature and the lion’s share that it used to have in the EFL Bachelor of Arts course regressed in favor of more specialized subjects. Such a reform has only worsened the state of the art of EFL literature teaching, which was already in a deplored state according to the will be cited studies. This article aims at pointing at the primary defects or malfunctioning of the first-year literature course by answering the question: what are the main flaws of the first-year EFL literature course? In order to answer this question, the article starts with a review of the whole literature course package, i.e., objective, content, methodology, and assessment. More importantly, to go beyond mere evaluation and criticism, the article ends by suggesting an alternative course that adopts task-based language teaching as a methodology. The proposed task-based literature course attempts to overcome the observed weaknesses or the inefficiencies of the actual course by matching the course objective, content, methodology, and assessment to students’ needs and aptitudes.
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Kelly, Veronica. "Beauty and the Market: Actress Postcards and their Senders in Early Twentieth-Century Australia." New Theatre Quarterly 20, no. 2 (April 21, 2004): 99–116. http://dx.doi.org/10.1017/s0266464x04000016.
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A hundred years ago the international craze for picture postcards distributed millions of images of popular stage actresses around the world. The cards were bought, sent, and collected by many whose contact with live theatre was sometimes minimal. Veronica Kelly's study of some of these cards sent in Australia indicates the increasing reach of theatrical images and celebrity brought about by the distribution mechanisms of industrial mass modernity. The specific social purposes and contexts of the senders are revealed by cross-reading the images themselves with the private messages on the backs, suggesting that, once outside the industrial framing of theatre or the dramatic one of specific roles, the actress operated as a multiply signifying icon within mass culture – with the desires and consumer power of women major factors in the consumption of the glamour actress card. A study of the typical visual rhetoric of these postcards indicates the authorized modes of femininity being constructed by the major postcard publishers whose products were distributed to theatre fans and non-theatregoers alike through the post. Veronica Kelly is working on a project dealing with commercial managements and stars in early twentieth-century Australian theatre. She teaches in the School of English, Media Studies, and Art History at the University of Queensland, is co-editor of Australasian Drama Studies, and author of databases and articles dealing with colonial and contemporary Australian theatre history and dramatic criticism. Her books include The Theatre of Louis Nowra (1998) and the collection Our Australian Theatre in the 1990s (1998).
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Zimmer, Rosangela, and Lucy Ferreira Azevedo. "A Análise do Videoclipe Sob a Perspectiva da Análise do Discurso Francesa para o Ensino da Língua Inglesa." Revista de Ensino, Educação e Ciências Humanas 21, no. 2 (August 19, 2020): 162–66. http://dx.doi.org/10.17921/2447-8733.2020v21n2p162-166.
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As vivências como professora na área da língua inglesa da Educação Básica me motivaram a estudar leitura. A inquietação que surgiu foi: contextualizar culturalmente os temas propostos levaria o aluno a pensar a língua estrangeira com criticidade e consciência das diferenças entre esta e sua língua nativa? Nesta perspectiva, o objetivo deste artigo é documentar uma oficina de leitura em que houve a relação história e arte com critérios definidores do modo de funcionamento da Análise do Discurso francesa e a sua orientação em direção a problemas práticos do cotidiano, relacionados à língua e à comunicação. Para tanto, o estudo analisou e desenvolveu a leitura de um clipe em língua inglesa do ponto de vista da vida contemporânea, repensando o seu objeto de estudo, a escola, os alunos e os professores em diferentes contextos: corpo, etnia, nacionalidade, gênero, classe social, entre outros tópicos, conforme os textos estudados. O método de abordagem foi qualitativo, em pesquisa descritiva e bibliográfica com base nos autores da área da Análise do Discurso francesa, em apenas um clipe, entre oito oficinas compostas de clipes com temas diversificados em linguagem conotativa. Espera-se que o estudo aqui proposto culmine em um ensino que leve o estudante a pensar a outra cultura e, com ela, outras habilidades e competências em língua inglesa e consequentemente evolua com maior fluidez.
Palavras-chave: Ensino. Língua Inglesa. Videoclipe.
Abstract
The experiences as a teacher in the English language area of Basic Education motivated me to study reading. The concern that arose was to culturally contextualizing the proposed themes lead the student to think the foreign language with criticism and awareness of the differences between it and his native language? In this perspective, the aim of this article is to document a reading workshop in which there was a relationship between history and art with defining criteria of the way French Discourse Analysis works and its orientation towards practical everyday problems related to language and communication. To this end, the study analyzed and developed the reading of an English-language clip from the point of view of contemporary life, rethinking its object of study, school, students and teachers in different contexts: body, ethnicity, nationality, gender, social class, among other topics, according to the texts studied. The method of approach was qualitative, in descriptive and bibliographical research based on the authors of the French Discourse Analysis area, in only one clip, among eight workshops with clips with diverse themes in connotative language. It is expected that the study proposed here will culminate in a teaching that leads the student to think about another culture and, with it, other skills and competences in English language and consequently evolve with greater fluidity.
Keywords: Teaching. English Language. Video Clip.
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Nguyen, Thi Thuy Minh. "Pragmatic development in L2 use of criticisms." EUROSLA Yearbook 5 (August 2, 2005): 163–94. http://dx.doi.org/10.1075/eurosla.5.09ngu.
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This paper presents a study of the development of L2 pragmatic competence in the speech act of criticisms. Data were collected from three proficiency groups of Vietnamese foreign language learners of English via a conversation elicitation task and a written questionnaire. An interview was also conducted to probe into the learners’ pragmatic decision-making. Results show that the strongest difference among the learners lay in the area of modifiers to criticisms, rather than in the criticism strategies per se. Specifically, as the learners became more proficient in the L2, they mitigated their criticisms more often, thanks to a better control over language processing. However, they still lagged far behind the native speaker group in the frequency of their use of mitigators. These proficiency effects were explained by the EFL context, which probably did not much facilitate pragmatic development, given the learners’ insufficient exposure to the target norms.
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Booth, Alison. "Feminist Criticism at the "English" Track Meet." Callaloo 17, no. 2 (1994): 559. http://dx.doi.org/10.2307/2931779.
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Maughan, Sarah. "Improving the Acceptability of Teacher Assessment for Accountability Purposes - Some Proposals within an English System." CADMO, no. 2 (December 2009): 39–53. http://dx.doi.org/10.3280/cad2009-002004.
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- The National Curriculum was introduced in England after the Education Reform Act of 1988. The compulsory curriculum is made up of four key stages, and until very recently there have been high stakes assessment at the end of each stage. Over time additional tests and examinations were added to the system leading to English children being some of the most tested in the world. In parallel to this, the use of test results to hold schools and teachers to account has emerged as one of the key purposes of the tests and examinations. This article describes the use of the results for accountability purposes, and the ever increasing criticism of this due to the distorting effects it has on teaching and learning. A number of recent changes to the system, in response to the criticisms, mean that test results are no longer available at all the stages to meet the accountability purpose. The article discusses whether the teacher assessment that has been proposed as a replacement could be used for accountability purposes in such a high stakes system, or whether the accountability system will be forced to change.
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Kane, George. "Textual Criticism and Middle English Texts.Tim William Machan." Speculum 71, no. 4 (October 1996): 975–78. http://dx.doi.org/10.2307/2865755.
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Gardiner, Jessica. "Anton Wagner, editor. Establishing Our Boundaries: English-Canadian Theatre Criticism." Theatre Research in Canada 21, no. 1 (January 2000): 72–74. http://dx.doi.org/10.3138/tric.21.1.72.
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Fullerton, Carol W. "The Theatre Criticism of George Stewart, Jr." Theatre Research in Canada 9, no. 2 (January 1988): 147–56. http://dx.doi.org/10.3138/tric.9.2.147.
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George Stewart, Jr. was a conservative theatre critic who published drama reviews over a forty-year period in later nineteenth-century Canada. He was typical of his time in preferring legitimate theatre and the plays of Shakespeare, Sheridan and Goldsmith, as well as in looking for naturalness in an actor or actress. Stewart was an early advocate of the need for critical autonomy, and was active in supporting French- as well as English-Canadian theatre.
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Dezfoolian, Shabnam. "The Rhetorical Analysis of Criticism in Persian and English Linguistics Papers." International Journal of Applied Linguistics and English Literature 6, no. 6 (September 1, 2017): 45. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.6p.45.
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Successful academic writing depends on being familiar with different rhetorical strategies .One of these strategies used by authors of scientific articles is the act of criticism, the criticism of the previous works or other members of their respective communities. Actually this helps writers to justify their own study and to create a gap. Therefore the socio-pragmatic variable of Academic Conflict (AC) has been investigated in different academic genres and disciplines. This study aims to examine this variable in linguistics papers in Persian and English. To this end a corpus of 60 papers, 30 in Persian and 30 in English, have been chosen randomly. First in the quantitative phase of the study, the direct and indirect AC variables that have been used for critical speech acts were compared by within and between languages and then in a qualitative examine, the discourse analysis of important features were examined to show the probable relations to the cultural contexts . The results showed that English writers used more criticism acts than Persian writers and both groups used direct AC more than indirect one. Although both groups of papers are written in different cultural contexts, the strategies used by authors seem familiar and have minute differences and this may show that the effect of discipline and the language of instruction are more than cultural contexts in rhetoric of criticism.
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G. Al-Zubaidi, Nassier A. "Interlanguage Pragmatics of Non-Institutional Criticism: A Study of Native and Non-Native Speakers of English." Journal of the College of languages, no. 42 (June 1, 2020): 1–26. http://dx.doi.org/10.36586/jcl.2.2020.0.42.0001.
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Criticism is inherently impolite and a face-threatening act generally leading to conflicts among interlocutors. It is equally challenging for both native and non-native speakers, and needs pre-planning before performing it. The current research examines the production of non-institutional criticism by Iraqi EFL university learners and American native speakers. More specifically, it explores to what extent Iraqi EFL learners and American native speakers vary in (i) performing criticism, (ii) mitigating criticism, and (iii) their pragmatic choices according to the contextual variables of power and distance. To collect data, a discourse-completion task was used to elicit written data from 20 Iraqi EFL learners and 20 American native speakers. Findings revealed that though both groups regularly used all strategy types, Iraqi EFL learners criticized differently from American speakers. When expressing criticism, Iraqi learners tended to be indirect whereas American speakers tended to be direct. In mitigating their criticism, Iraqi learners were significantly different from American speakers in their use of internal and external modifiers. Furthermore, both groups substantially varied their pragmatic choices according to context. The differences in their pragmatic performance could be attributed to a number of interplaying factors such as EFL learners’ limited linguistic and pragmatic knowledge, the context of learning and L1 pragmatic transfer. Finally, a number of conclusions and pedagogical implications are presented.
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Taylor, Benedict. "Sullivan, Scott andIvanhoe: Constructing Historical Time and National Identity in Victorian Opera." Nineteenth-Century Music Review 9, no. 2 (December 2012): 295–321. http://dx.doi.org/10.1017/s1479409812000316.
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Arthur Sullivan's Walter Scott-based operaIvanhoe, despite attaining great success at its 1891 premiere, has since quickly fallen from musicological grace. Substantive criticism of this work in the twentieth century has concentrated on the static, tableau-like dramaturgy of the opera, a lack of dramatic coherence, and its undeniably conservative musical language. Taking its bearings from such criticisms this paper explores Sullivan's problematicmagnum opusfrom the perspective of its relationship with time, understood from multiple levels – his opera's musical-dramaturgical, historical, and music-historical temporalities. Starting from Michael Beckerman's insightful analysis of what he terms the ‘iconic mode’ in Sullivan's music,Ivanhoecan be viewed as an attempt at creating a different type of dramaturgical paradigm that emphasizes stasis and stability located in the past – highly apt for a work seeking both to crystallize past history and to found a new tradition for future English opera. Moreover, investigating this work and the composer's stated aesthetic concerns more closely reveal a conscious desire to opt out of continental European narratives of musical progress and build a composite, pageant-like vision of English history, therefore inevitably partaking in a process of constructing national identity. These features are teased out in the context of Scott's impact on the Victorian mind and their affinities with other historicist tendencies in the arts such as the Pre-Raphaelite movement.
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Yelin, Louise, Nina Auerbach, Judith Lowder Newton, Mary Poovey, and Igor Webb. "Women and Fiction Revisited: Feminist Criticism of the English Novel." Feminist Studies 12, no. 1 (1986): 169. http://dx.doi.org/10.2307/3177990.
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Ahmad, Nurfarahin, Nalini Arumugam, and Kaarthiyaini Supramaniam. "A Study of the Speech Act of Complaining." International Journal of Modern Languages And Applied Linguistics 1, no. 1 (August 1, 2017): 13. http://dx.doi.org/10.24191/ijmal.v1i1.7616.
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The present study aims to examine the speech act of complaining performed by consumers of a particular organisation by investigating the pragmatics strategies employed by the consumers in complaining. The behaviours of Malaysian non-native English speakers when making online complaints directed to an organisation is expected to have different approaches and preferences compared to complaints produced by native speakers of English. A case study approach was used in this qualitative study to investigate the preference of Malaysian non-native speakers of English language when making online complaints with respect to the components of the speech act set of complaining by analysing 50 online complaints, posted by 50 customers via www.complaintsboard.com. The results indicated that the component of complaining is found to be the most frequent in online complaints. Besides, it was also found that the complaints made by non-native speakers did not appear in isolation but accompanied by other components of speech act like criticism, justification, request for explanation, warning and threat and sarcasm. In addition, Malaysian non-native English speakers employed complaint strategy that lies under the third level of severity of complaint which means they produced the complaint by expressing it explicitly.
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Proffitt, Edward, and William Cain. "The Crisis in Criticism: Theory, Literature, and Reform in English Studies." Journal of Aesthetic Education 20, no. 2 (1986): 116. http://dx.doi.org/10.2307/3332705.
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Jain, Susan Pertel, and Manuel D. Lopez. "Chinese Drama: An Annotated Bibliography of Commentary, Criticism, and Plays in English Translation." Asian Theatre Journal 10, no. 2 (1993): 218. http://dx.doi.org/10.2307/1124183.
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