Academic literature on the topic 'Francis Criticism and interpretation'
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Journal articles on the topic "Francis Criticism and interpretation"
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Kuznetsova, Ekaterina V. "Traditions of franciscanism and pilgrimage in the life and work of A. Dobrolyubov." Verhnevolzhski Philological Bulletin 2, no. 25 (2021): 19–30. http://dx.doi.org/10.20323/2499-9679-2021-2-25-19-30.
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The fate and personality of Alexander Dobrolyubov gave rise to a kind of Dobrolyubov myth about the eternal wanderer in the culture of the Russian Silver Age and in many ways unfairly obscured his literary work. The article traces the influence of Francis of Assisi on Dobrolyubov's own life-creating strategy and his contemporaries' perception of him as a «Russian Francis. The author considers the peculiarities of artistic interpretation of the whole complex of motifs associated with the fate and personality of the Italian saint in the last collection of Dobrolyubov's works, From the Book Invisible (1905). The author analyzes the image of the pilgrim, glorification (preaching) of the poor, hermit’s life and the unity of man and wildlife, plants and the elements of nature in the context of teachings of St. Francis and the Russian franciscanism of the modernist era; the features of their modernist reception are traced in Dobrolyubov’s works written after his «departure». On the other hand, the author reveals evidence that the poet implements the individual author's interpretation of the characteristic Russian cultural and historical phenomenon of pilgrimage (real, metaphysical and spiritual), which was reflected, for example, in N. S. Leskov’s works, and philosophically interpreted in science and criticism of the early 20th century (V. Rozanov, N. Berdyaev, etc.). The author suggests that the poet was influenced by an anonymous work of Russian religious literature «A Pilgrim's Confessional Stories to his Spiritual Father». As a result, the author concludes that the poet creates a modern variation of the Franciscan image of the «simple man» and the divine man, possessing the gift of communication with nature, who combines the features of an Italian ascetic preacher with the type of a Russian pilgrim-god-seeker.
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Vezhnevets, Iryna. "Intermediality and problems of interpretation of the vocal cycle "The Short Straw" of Francis Poulenc." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 101–6. http://dx.doi.org/10.32461/2226-2180.39.2021.238698.
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The purpose of the article is due to the need to study the peculiarities of the interpretation of the artistic texts of the vocal cycle of F. Poulenc on the poem by M. Karem "Straw" in the intermedial space. The methodology is based on an integrated approach using comparative, structural, interdisciplinary methods and narrative analysis to understand the psychological processes that arise when interpreting a vocal cycle, involves the inclusion of the problem of analysis in the space of art history and cultural discourse in an interdisciplinary context. Scientific novelty the scientific novelty lies in the fact that the vocal cycle of F. Poulenc was first investigated as a full-fledged semiotic space, a universal plane of the textual category of intertextuality, which, along with the specific characteristics of its sign system, conveys "figurative" information. Conclusions Analysis of philosophical, musicological, art criticism literature gives grounds to assert that the intermediality of vocal work is closely related to the concepts: "synthesis of arts", "narrative", "ekphrasis", "synesthesia", "suggestion", etc. F. Poulenc to poems by M. Karem “A Short Straw” is a full-fledged semiotic space that corresponds to the universal textual category of intertextuality, which, along with the specific characteristics of its sign system, conveys “figurative” information. The intermediality of vocal work is based on the interaction of artistic codes of various types of arts, as the formation of an integral poly art space in the cultural system. The combination of narrative and intermedial approaches to musical works is increasingly becoming one of the most relevant trends in modern musicology, the further development of the theory and practice of intermediality.
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Paďour, František. "Identity according to Francis Fukuyama: An obstacle to the end of history." Politics in Central Europe 16, no. 1 (April 1, 2020): 327–45. http://dx.doi.org/10.2478/pce-2020-0015.
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AbstractThis review essay focuses on Francis Fukuyama’s book Identity: The Demand for Dignity and the Politics of Resentment, which was published in 2018. The text emphasises placing Fukuyama’s new publication in the context of his multi-year work for its correct interpretation. Fukuyama’s conception of the human soul is analysed in confrontation with contemporary issues of liberal democracy. It mentions other authors criticisms of Fukuyama’s work and, at the same time, it is defended by Fukuyama himself. The text can be seen as an introduction to Francis Fukuyama’s reasoning regarding the modern problems of liberal democracy and as an attempt to understand his unsuccessful prediction of the end of history. The central theme of the text is the concept of identity, which Fukuyama describes as a source of conflicts and friction areas in modern societies. Fukuyama’s findings are supplemented by the findings of other authors and current world events.
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Volynskii, Andrei. "To the End of History." Oriental Courier, no. 4 (2022): 11. http://dx.doi.org/10.18254/s268684310023799-6.
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More than 30 years have passed since the article and then the monograph by Francis Fukuyama about the end of history were published. The author repeatedly pointed out the incorrect interpretation of the main ideas expressed in the book. Fukuyama subsequently insisted that the end of history, understood as reaching the final point in the evolution of society through the spread of liberal democracy on a global scale, was articulated by him as a goal of development, and not as an already achieved result. The discourse around the idea of the end of history, thus, was formed partly against the author’s will. The idea lived its own life. Trends of the last few years have actualized a new wave of discussions about the end of history, but now — “The End of the End of History”. The processes of deglobalization, the strengthening of authoritarian political regimes and their influence on the world agenda, the victory of populist forces in elections in Western countries — all this is perceived by Fukuyama's critics as a sign of the end of the end of history. We believe that the conclusion about the end of the end of history is hasty. The authors developing this thesis build their arguments around criticism of the West. Accordingly, the end of history, understood as the total spread of Western-style democracy, was provoked by the West itself. At some points, such an approach will lead to correct results, but it must be borne in mind that we find ourselves in the trap of Orientalism, believing that the dominant right to interpret democratic discourse belongs to the West and depends on the West. A more relevant analytical framework could be the thesis that the characteristic of modernity is not the end of the end of history, but the erosion of the former dominance of the West in the discourse regarding the interpretations of liberalism in economics and democracy in politics.
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Muhammadiah, Mas'ud, Petrus Jacob Pattiasina, Khasanah Khasanah, and Ali Pirdaus. "relevance of speaking skills with improving digital literacy skills." International research journal of management, IT and social sciences 8, no. 6 (November 16, 2021): 669–78. http://dx.doi.org/10.21744/irjmis.v8n6.1975.
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The author believes that learning English, especially speaking skills, is closely related to the mastery of digital literacy skills among students at schools and universities. To prove the assumptions and beliefs of the authors of this study, take a look at some of the data that has been published in various journals, books, and proceedings, as well as other internet data sources. Furthermore, to make it easier for us to answer the questions in this review, we have carried out a series of data analyses and studies by incorporating a coding system and in-depth evaluation and interpretation so that we can derive findings in response to these questions. Study the questions on the basis that, they are valid and reliable. For example, we visited Taylor and Francis Elsevier publications, Google book publications, academic databases, and domestic publication journals. After a series of criticisms of the data and discussion of the findings, we can finally say that there is strong evidence that there is a relevance between successful mastery of speaking skills and digital literacy skills among students. So with these results, we hope that these findings can be input in studies of the success of learning English.
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Alfadlilah, Muna. "POST-MODERN REPRESENTATION IN CEROS AND BATAZOR NOVELS WRITTEN BY TERE LIYE: JEANS FRANCOIS LYOTARD POST-MODERNISM." Prosodi 14, no. 1 (April 30, 2020): 57–64. http://dx.doi.org/10.21107/prosodi.v14i1.7194.
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Literature work is a notion which results a masterpiece with certain characteristics and it has aesthetics value. Understanding and enjoying literature work requires literature theoretical understanding. Literature theory explains to readers which will lead to a certain understanding or theory in a phenomenon consisted in it. This research aims to describe post-modern cultural aspects based on Jhon Francois Lyotard's theory in a novel written by Tere Liye, Ceros and Batazor edition. Tere Liye’s novel has data elaborating post-modernism aspects, such as electism, parody, pastiche, irony, and camp. The data source of this research is a novel written by Tere Liye, Ceros and Batazor edition. The data collection was done by reading and noting methods. This research was done by identifying, clarifying, analyzing, elaborating, and drawing in order to create conclusion within postmodern aspects in which represented social life as described in novel written by Tere Liye, Ceros and Batazor edition. The findings of Tere Liye’s novel describes fantasy and adventure words mixed in human lives and activities. They describe postmodern elements through several aspects. The research in Tere Liye’s novel, one of them is electism in which its behavior combines local and foreign cultures both from language or foreign good aspects. The parody element is uttered as criticism to describe or quip certain behaviors or activities done by society. Meanwhile, pastiche, in the novel is an event lasting as principles stated in the novel. Irony is a description of an unexpected occurred event or destiny. Camp in the novel is an emphasis on the characters’ behaviors which result to interpretation.
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Omodeo, Pietro Daniel. "Bacon’s Anthropocene." Epistemology & Philosophy of Science 58, no. 3 (2021): 149–70. http://dx.doi.org/10.5840/eps202158350.
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The current predicament, marked by an unprecedented environmental crisis and novel debates on the anthropic-technological transformation of the earth-system, calls for a reassessment of the historical-epistemological question of the entanglement between power, knowledge, and nature. Francis Bacon is the classical reference point for this thematic cluster – a focal point for both historical reconstructions and epistemological reflections, for both those who extol the merits of scientific progress and those who criticize the risks posed by its abuse. I begin this essay by considering Merchant’s eco-feminist interpretation of Bacon. Additionally, I briefly recount how Bacon is envisaged as a symbol of science as domination within the critique of capitalism provided in another classic, Adorno and Horkheimer’s Dialectic of Enlightenment. I also consider the flipside of the reception of Bacon in assessments of our modern scientific world, namely the empowerment-and-emancipation discourse on technology, typical of much of Marxism. In this respect, I deem it expedient to mention the knowledge-power problem in relation to the Anthropocene debate, and in particular in relation to the theme of the transformation of the world in praxeological terms. These considerations, which deal with various assessments of techno-scientific capitalist modernity, are at the basis of my final remarks on the most urgent Anthropocene dilemma, namely, whether we need more or less technoscience. This concerns the historico-political question of whether the ecological limits of growth are an intrinsic limit of capitalism.
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Serra, Manuel Alejandro. "El papel del actus essendi en la comprensión de la causalidad." Daimon, no. 85 (January 1, 2022): 51–65. http://dx.doi.org/10.6018/daimon.396681.
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After the criticism that Martin Heide-gger made of Western metaphysics some authors like Gilson or Fabro, among others, wanted to enter into confrontation giving them the oppor-tunity to study in depth most important theses of authors like Thomas Aquinas and his esse philo-sophy. Gilson’s theses had an important impact on the world of Thomism, but Lawrence Dewan, also a Thomist, wanted to defend against Gilson the traditional interpretation of Cayetano and Capreolo, which until now had been regarded as the most celebrated commentators of Thomas. This article investigates a specific point of this confrontation: the causation of esse. El legado de Martin Heidegger con su crítica a la metafísica occidental ha suscitado numerosos estudios en torno a la perenne cuestión acerca del ser, la metafísica y el fundamento mismo de la filosofía. Étienne Gilson, entre otros autores, fue un medievalista que tomó el pulso al pensador alemán para demostrar que Tomás de Aquino no esencializó el ser, como aquél pretendía. Sin embargo, junto con el Francés, en torno a la filosofía del ser tomista surgieron otros estudiosos que quisieron confrontar el tomismo gilsoniano con lo que entendían era un modo más adecuado de entender el verdadero tomismo. Uno de los puntos más interesantes sobre esta confrontación es, sin duda, el papel del esse tomista en la comprensión de la causalidad, entrando aquí en juego, a posteriori, interesantes cuestión en torno a la relación entre el pensamiento tomista y el aristotélico.
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Zaret, David, and Michael Walzer. "Interpretation and Social Criticism." Contemporary Sociology 17, no. 1 (January 1988): 122. http://dx.doi.org/10.2307/2069485.
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Senchuk, Dennis M., and Michael Walzer. "Interpretation and Social Criticism." Noûs 26, no. 3 (September 1992): 389. http://dx.doi.org/10.2307/2215966.
Full textDissertations / Theses on the topic "Francis Criticism and interpretation"
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Minard, Scott David. "Francis Bacon and composition." CSUSB ScholarWorks, 1987. https://scholarworks.lib.csusb.edu/etd-project/396.
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Hong, Kimberly Yuen 1984. "Tear Down the Veils: Francis Bacon's Papal Variations 1946-1971." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/9871.
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xiv, 141 p. : ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.Twentieth-century British figurative painter Francis Bacon (1909-1992) is perhaps best known for his near-obsessive series of papal paintings inspired by Diego Velazquez' renowned portrait Pope Innocent X (1650) and created over the course of Bacon's entire artistic career. The artist's working process plays a crucial role in understanding this celebrated and varied series. Bacon deliberately avoided Velazquez' "original" portrait, preferring instead to work with photographic reproductions of the piece alongside a large collection of seemingly disparate visual material in his chaotic studio at 7 Reece Mews (South Kensington, London, England). This thesis proposes that Bacon explored issues of mechanization, fragmentation, and repetition through these visual juxtapositions in order to offer a critique of artistic and religious institutions.
Committee in Charge: Dr. Kate Mondloch, Chair; Dr. Lauren G. Kilroy; Dr. Ellen Rees
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Nelson, Megan Jane. "Francis Turner Palgrave and The golden treasury." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25947.
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In spite of the enormous resurgence of critical interest in minor figures of the Victorian era over the last twenty years, almost no attention has been paid to Francis Turner Palgrave (1824-1897). In his own age, he was respected as a man of letters, educator, art critic, poet, friend of Alfred Tennyson, and editor of The Golden Treasury of the Best Songs and Lyrical Poems in the English Language, first published in 1861. This dissertation attempts to make good that neglect in two ways: firstly, through an analysis of his life and times, an assessment of his writings as an art and literary critic, an examination of his considerable corpus of original poetry, and the compilation of the first comprehensive bibliography of his own publications. This bibliography is accompanied by a checklist of manuscript sources and a listing of secondary materials about Palgrave himself.
Secondly, the dissertation makes the first systematic examination of the Golden Treasury, its genesis and editing principles, its critical reception, and its publication history. This detailed study is accompanied by eight appendices giving bibliographical information about the form and contents of the four major editions of the Treasury published in Palgrave's lifetime, along with a listing of sources and a checklist of contemporary reviews.
Throughout the dissertation, the intellectual concerns that led Palgrave to develop a set of fixed principles for judging all art and literature are examined in order to establish that, like his friend Matthew Arnold, he was a committed Hellenist, who insisted that all poetry conform to what he perceived as the "Homeric" ideals of simplicity and unadorned language. The Golden Treasury, in particular, is based on an ideal of "unity" which Palgrave used to justify the many editorial excisions and variant readings which are such a feature of the volume's texts.
It is impossible to account fully for the unprecedented success of the Golden Treasury, which has continued to be reprinted in a variety of editions from the time of its first publication until the present, but one of its most important features is that it is the first anthology of English lyric poetry to declare itself complete: Palgrave insisted that the book contained all the best lyrics in the English language. Just as significant is the fact that it is the first anthology by a professional educator who refused to make his selections on the basis of their morally improving qualities, but relied instead on poetic excellence alone.
"Francis Turner Palgrave and The Golden Treasury," therefore, attempts to account for the extraordinary success of the Golden Treasury and to examine one of the nineteenth-century's more interesting minor figures, one who was a friend of some of the most brilliant men of his day, including Jowett, Browning, Arnold, Clough, and Gladstone; a recognised minor poet of the "contemplative" school which included Arnold and Clough; and a well-known champion of the Pre-Raphaelite painters.Arts, Faculty of
English, Department of
Graduate
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Mullins, Nigel Lorraine Griffin. "A perspective on the question of the absence or presence of religious beliefs relating to elements of modern artistic endeavour, with special reference to the life and work of Francis Bacon." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1007710.
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Preface: An awareness of certain contradictory perceptions and assumptions regarding religious beliefs today and their relevance to art prompted a question which led to the research undertaken in this minithesis. The question was: how significant is the absence or presence of religious beliefs to the modern creative process? The writings of some theologians, sociologists, psychologists, and anthropologists seem to indicate that religious beliefs are fundamental to the functioning of society and the individuals who are part of it. Furthermore, even a cursory study of the history of art will demonstrate the strong bond between pre-nineteenth century image making and organised religion. Today, however, this relationship appears uncertain or even non-cxistant. This is a result of processes which began to gain strength in the nineteenth century: these include the industrial revolution, scientism and materialism. Peter Fuller, stated that among the most central questions affecting art is, "the severance of the arts from religious tradition and their existence within an increasingly secular culture." (Fuller, 1990, p. 189). This statement appears to bring the issues together very neatly. Firstly there is the assertion that religion has nourished and been a vital force behind art through the ages, and that, modern art has lost this source of vitality. Secondly, there is the contention tbat society, since the nineteenth century, has become increasingly secular, and that this has had (and is having) a radical effect on modern art. That art has been divorced from religion and that religion is disappearing, or will do so, is the logical conclusion, according to theorists who insist on institutional religion as the only true form. Some artists, for whom the absence or presence or loss of religious beliefs are important issues, may in this situation experience a creative crisis. In order to address these issues it was necessary to investigate whether religious beliefs are important to artistic endeavour and, if so, what the consequences of the absence of beliefs might be. For this reason, research into the nature of religion and the modem religious situation was initiated. The purpose of the extensive discussion on the nature of religion was to establish definitions of, or a view of, religion which could provide a sound basis for this investigation of the issues that have been outlined. In order to demonstrate whether religious beliefs are important to the creative process, Francis Bacon was chosen for discussion because he appeared to be a modern artist who had no religious beliefs and was thus an ideal example by which the consequences of this could be gauged.
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Breukelaar, Jennifer S. English Media & Performance UNSW. "Heroics of the false: a new look at noir." Awarded by:University of New South Wales. English, Media and Performance, 2007. http://handle.unsw.edu.au/1959.4/29485.
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In this thesis I investigate the nature of noir subjectivity, and the degree to which it can be described as heroic. To investigate these issues, I have chosen to illustrate my argument by analysing my novel, Viper, and two films that renew the noir cycle at different socio-political crossroads in America: in 1958, Alfred Hitchcock???s late noir, Vertigo, and in 1974, Frances Ford Coppola???s neo-noir, The Conversation. Because these texts present an extreme theorisation of deception in terms of the assembling and erasure of subjective identity, they will serve as a basis to explore the question of noir subjectivity. In proceeding thus, I argue in the dissertation that film noir???s most innovative borrowing can be described as a monstrous stitching together of incompatible parts???the real and the imaginary, the past and the present, the living and the dead???which accounts for a cut both between, and within, the image. It is this prosthetic approach to representation that takes the noir mode beyond its existential, individualist limits, and accounts for the subjective wound in noir: the heroic conflict between the singular and the multiple. In my analytic procedure then, I extend the idea of monstrosity beyond its current boundaries in contemporary theory. I do this by fusing Marie H??l??ne Huet???s conception of the monstrous imagination, which is a theory of art, with Gilles Deleuze???s powers of the false, which belongs to a philosophy of time. I posit a dialogic exchange across these analyses and my novel to suggest that the cinematic cut not only accounts for what Deleuze has termed the time-image but also is symptomatic of the chronic wounding of the riven noir hero. These analyses suggest that, while sustaining the aura of authorship through technical innovation and stylistic mastery, film noir serves paradoxically to challenge the mastery of the model designated as masculine. In my novel I continue to deal with the issues raised in the dissertation, through a rearticulation of a subjectivity that irrevocably alters its relation to representation in its affinity with the image, its serial movement through interstitial space, and its novel powers of falsification.
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Kuxdorf, Stephanie. "Love in a machine age : gender relationships in the novels and short stories of F. Scott Fitzgerald." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59896.
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The primary purpose of this study is to examine the effects of the social and cultural revolution in post-World War One American society on gender relationships in F. Scott Fitzgerald's novels and a selection of his short stories. In his fictional works, Fitzgerald becomes a kind of social and cultural historian, reflecting the fundamental changes that began to occur in the 1920s. There were many factors that contributed to this Jazz-Age revolution in "manners and morals": the emancipation of women, giving rise to the American New Woman; the influence of Freud and his psychoanalytic theories on the already blossoming sexual revolution; and the mechanization and commercialization of all aspects of life in the machine age, drastically altering the way men and women had traditionally thought, behaved, and, communicated with one another.
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Welch, Edward. "A Catholic novelist in context : suggestions for a reassessment of the work of Francois Mauriac." Thesis, University of Oxford, 2000. http://ora.ox.ac.uk/objects/uuid:73570115-4495-4492-a21f-59ee6b6543d0.
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This thesis focuses on a writer who was a constant presence in the French literary field for a large part of the 20th Century and who, by the time of his death, had established himself as one of the major post-war intellectuals, yet who is increasingly typecast simply as a 'Catholic Novelist'. The thesis aim to counter this tendency by highlighting other, intriguing and overlooked aspects of his work and career : the pervasive presence of the body in his novels, his Sartrean sensitivity to the problem of intersubjectivity, or his post-war intervention over decolonisation, and the ethical questions this forced him to confront. The distinctiveness of the thesis lies in its stress on the need to resituate literary texts and other works of art in their socio-cultural contexts - that is to say, in the context of other discourses or representations of the world in circulation at the same time. Thus, Part 1 explores how both his artistic theory and practice are shaped, in unpredictable ways, by the ideological framework of Catholicism into which he is inserted in his early years. Part 2 argues that despite, or perhaps because of, his innate conservatism, Mauriac emerges as a writer who is sensitive to, and captures the nature of, the modern world, and the experience of living in that world. His modern sensibility is reflected in his preoccupation with intersubjectivity, one he shares with other writers of the period who are, perhaps, more recognisably modern. Part 3 examines how his political interventions, and his corresponding transformation from novelist to intellectual, are managed by L'Express magazine, and how in fact he came to collaborate with a journal whose politics were radically different from his own. Overall, through an approach which can be described as materialist and, from a religious perspective, agnostic, the thesis aims to demonstrate how Mauriac can still be seen to have relevant and interesting things to say to a contemporary audience.
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Roza, Alexandra M. "Towards a modern Canadian art 1910-1936 : the Group of Seven, A.J.M. Smith and F.R. Scott." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20178.
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During the 1910s, there was an increasing concerted effort on the part of Canadian artists to create art and literature which would affirm Canada's sense of nationhood and modernity. Although in agreement that Canada desperately required its own culture, the Canadian artistic community was divided on what Canadian culture ought to be. For the majority of Canadian painters, writers, critics and readers, the future of the Canadian arts, especially poetry and painting, lay in Canada's past. These cultural conservatives championed art which mirrored its European and Canadian predecessors. Their domination of the arts left little room for the progressive minority, who rebelled against prevailing artistic standards. In painting, the Group of Seven was one of the first groups to challenge this stranglehold on Canadian culture. The Group waged a protracted and vocal campaign for the advancement of Canadian approaches and subjects. In literature, A. J. M. Smith and F. R. Scott began a similar movement to modernize Canadian poetry and reform critical standards. By examining the poetry, essays, criticism and archival material of these poets and painters, the thesis establishes strong parallels between the modernist campaigns of these two groups and investigates this cross-fertilization between the modern Canadian arts.
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Ralls, Warren John. "An investigation into the enlightenment and aspects of Spanish life which may have influenced Los Caprichos (1797-1799) of Francisco de Goya (1746-1828)." Thesis, Rhodes University, 1997. http://hdl.handle.net/10962/d1002217.
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The aim of this mini-thesis was to investigate if the Spanish artist Francisco Jose de Goya y Lucientes (1746-1828) was aware of the progress that enlightened thought brought to Spain during the late eighteenth-century, and to see whether this had any effect on his series Los Caprichos (1797-1799). According to some contemporary historians, such as Dowling (1985, p. 347), the " ... specific subject-matter of the Caprichos came directly from the ideology of the Spanish Enlightenment. " The contemporary historian Jeremy Black (1990, p. 208) described the Enlightenment as a " ... tendency towards critical enquiry and the application of reason." Enlightened thinkers were primarily critics who used reason as a goal and a method to create a better society. Reason was believed to be a characteristic trait of the human species, human development and social organisation. The Enlightenment is not a purely seventeenth and eighteenth century phenomenon, but originated in the ideas of the classical civilizations and also the humanism of the Middle Ages and Renaissance in Europe. Many intellectuals were responsible for this new direction of thinking. The ideas of these scientists and philosophers are discussed in some detail, especially those beliefs which are clearly seen in the subject-matter of Los Caprichos. In addition, consideration is given to the possible effects of some of the historical events on the life and work of Goya, for example, the French Revolution (1789) and the Reign of Terror (1793-1794) which followed the Revolution. In order to understand the background of the environment into which Goya was born and in which he developed, research was done on Spanish life and the monarchs of the eighteenth century. Specific attention is given to two Spanish kings from the House of Bourbon: Charles 3, who began numerous enlightened reforms in Spain and reigned around the time of Goya's early artistic and social development, and Charles 4 who did not continue the reforming policies of his father and ruled Spain when the Caprichos were produced. The extent to which the Enlightenment spread to Spain is investigated, especially during the period in which Goya lived. Notable progressive thinkers of this European country are discussed, and special attention is given to those open-minded people whom Goya met. There appears to be proof that Goya may have been inspired by numerous of these learned Spaniards, and where this has motivated the Caprichos, special mention is made. The general census of the twentieth century, however, seems to be that Goya was not a towering intellectual thinker, but he was most certainly not an illiterate, unintelligent person either. The themes of Los Caprichos strongly suggest that he was influenced by enlightened individuals many of whom were his friends, such as the wealthy businessman and art-collector Sebastian Martinez (17 ?-1800) (with whom Goya stayed during a serious illness in 1792-1793). The letters written by Goya to his childhood friend Martin Zapater (1746-18 ?) and selected prints from the Caprichos provide sufficient proof to indicate that enlightened thought inspired the work of Goya. It must be recognised, however, that there were other events that could have been influential such as: his appointment as Painter to the King in 1786, which provided Goya with a regular salary and released him from the demands of patrons, giving his imagination free reign; the illness that he suffered from 1792 until 1793, which could have caused Goya to view his life in perspective and could have given him the courage to criticise society. On a smaller scale, the possible love affair that Goya had with the Duchess of Alba, which turned sour, was possibly a blow to his self esteem. This is a subject which is seen in a few of the prints from Los Caprichos. The research gathered for this mini-thesis is from the ex post facto source-material available through Rhodes University library, and any other attainable published data connected to Goya. This information consists of secondary sources which include copies of manuscripts dating from the time of Goya as well as first-hand observations of Goya's art.
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Lacroix, Michel 1969. "La beaute comme violence : la dimension esthetique du fascisme francais, 1919-1939." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37754.
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Everything about fascism is aesthetic: this is what our thesis aims to demonstrate, based on the example of interwar French Fascism (1919--1939). It studies both discourses, symbolic practices, and literary texts, in order to show the multiple aspects of fascism's aesthetic dimension. Two theories, discourse analysis and sociocriticism, have guided us and permitted us to explain the interaction between aesthetics and ideology.Our thesis is divided in three parts, each one devoted to one of fascism's central themes: the leader, the youth, and the group. In our first chapter, we examine the charismatic leader's many faces, among which are the poet and the warrior. We then show that fascism's discourse on heroism makes of the epic hero an ideological model and that, in its turn, this ideological hero greatly influenced Pierre Drieu la Rochelle's representation of the hero. But, as we indicate, Drieu's novels reveal that the cult of the hero is both a glorification of the self and a self-hatred. In our second chapter we examine fascism's cult of youth such as it was in Italy and Germany, after which we have demonstrated that, in a way, French fascism was an extreme radicalization of the contemporary French discourse on youth. Then, we analyse one of Robert Brasillach's novels which brings to the fore the dark side of fascism's cult of youth: its death drive.
In our last chapter, we unearth the aesthetic principles underlying fascism's political spectacle, principles that we also find at the heart of Drieu's texts. We consequently state that Drieu has adopted fascism's aesthetic years before he realized he had fascist ideas. Going a little further yet, we stipulate that Drieu thus reveals that the aesthetic was one of the main roads towards fascism. We then establish, in our final conclusion, a synthetic description of fascist aesthetics: an aesthetics of pathos, exhibition, sublime, violence, and death.
Books on the topic "Francis Criticism and interpretation"
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Francis Ponge. [Paris]: Seuil, 1988.
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Marini, Francesca. Francis Bacon. [Milano]: Skira, 2008.
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Francis Bacon. Roma: De Luca, 2005.
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Mellers, Wilfrid. Francis Poulenc. Oxford: Oxford University Press, 1995.
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Tagne, David Ndachi. Francis Bebey. Paris: L'Harmattan, 1993.
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Francis Ponge. Paris: P. Belfond, 1990.
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Francis Ponge. Lyon: Manufacture, 1986.
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Bernad-Gruber, Catherine. Francis Gruber. Neuchâtel, Suisse: Ides et Calendes, 1989.
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Bliss, Lee. Francis Beaumont. Boston: Twayne Publishers, 1987.
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Francis Ponge. Paris: J. Corti, 1993.
Find full textBook chapters on the topic "Francis Criticism and interpretation"
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Bogel, Fredric V. "New Formalist Interpretation." In New Formalist Criticism, 102–52. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137362599_4.
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Cohen, Ralph. "Literary Criticism and Artistic Interpretation." In Reason and Imagination, 279–306. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003222996-14.
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Bonelli, Paolo, Giorgio Guidotti, Enrico Paolini, and Giulio Spinucci. "Pacemaker Stimulation Criticism at ECG." In New Concepts in ECG Interpretation, 175–85. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91677-4_16.
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Wang, Fengzhen. "Marxist Literary Criticism in China." In Marxism and the Interpretation of Culture, 715–22. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19059-1_49.
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Capellmann, Herbert. "Later Criticism of the Copenhagen Interpretation." In SpringerBriefs in History of Science and Technology, 77–81. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61884-5_10.
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Amesbury, Richard. "Norms, Interpretation, and Decision-Making: Derrida on Justice." In Morality and Social Criticism, 46–64. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230507951_3.
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Mallinson, Jane. "Objects of Attention: The Literary Criticism." In T.S. Eliot’s Interpretation of F.H. Bradley, 23–34. Dordrecht: Springer Netherlands, 2002. http://dx.doi.org/10.1007/978-94-017-0411-3_3.
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Gutiérrez Pozo, Antonio. "Subjectivity and Transcendence: Husserl’s Criticism of Naturalistic Thought." In Man’s Self-Interpretation-in-Existence, 379–85. Dordrecht: Springer Netherlands, 1990. http://dx.doi.org/10.1007/978-94-009-1864-1_30.
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Barrett, Michèle. "The Place of Aesthetics in Marxist Criticism." In Marxism and the Interpretation of Culture, 697–713. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19059-1_48.
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Davis, Todd F., and Kenneth Womack. "Introduction: Moving beyond the Politics of Interpretation." In Formalist Criticism and Reader-Response Theory, 1–10. London: Macmillan Education UK, 2002. http://dx.doi.org/10.1007/978-1-4039-1916-8_1.
Full textConference papers on the topic "Francis Criticism and interpretation"
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Al-dabbagh, Asma. "The Nature of Interpretation in Architectural criticism." In INTERNATIONAL CONFERENCE ON ARCHITECTURAL AND CIVIL ENGINEERING 2020. Cihan University-Erbil, 2021. http://dx.doi.org/10.24086/aces2020/paper.256.
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The expressive systems in architecture consists of two components: the system of forms and the system of meanings, these systems are linked together by unwritten rules, which are a matrix of correlations / implications that determine any meanings associated with any forms. The designer remains unsure of the possible interpretations of his design, because of the variation in the nature of meaning, discovered by the recipient, and this stems from the variation of reliance on the theory of interpretation in this regard. Many studies of architectural semiology indicate some of these theories; Classical theory believes in the natural meaning, which influenced by form's geometry, Pragmatic theory believes in the common meaning, which stems from the use of form within different contexts and according to social custom. The research attempts to explore the aspects of interpretation adopted by two critics, in order to determine the theory adopted by them, so the designer will be aware to the nature and type of meaning comprehended by viewers. The results showed the adoption of common and inclusive meanings, also showed the variation in the role of architectural Expressions in confirming or multiplying the meaning, influenced by contexts and signal types. The conclusion emphasized the importance of historical references, stylistic trend, and spatial contexts in form interpretation.
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"Interpretation of "Wuthering Heights" from the Perspective of Eco-criticism." In 2018 4th International Conference on Economics, Management and Humanities Science. Francis Academic Press, 2018. http://dx.doi.org/10.25236/ecomhs.2018.126.
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Kenyhercz, Róbert. "Interpretation of data and sources in etymological research." In International Conference on Onomastics “Name and Naming”. Editura Mega, 2022. http://dx.doi.org/10.30816/iconn5/2019/39.
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The aim of the paper is to emphasize the importance of source criticism in etymological research. It is widely known that the main sources for the early history of toponyms in the Carpathian Basin are the charters created in the medieval Hungarian Kingdom, because these official documents contained a large number of vernacular proper names embedded in the Latin text. However, it is important to mention that the medieval charters were produced by the chancery and places of authentication along specific principles and needs. I argue that this circumstance must always be considered during the interpretation of the data. I will show some examples illustrating that – in certain cases – we have to take into account the nature of the sources in the reconstruction of the genesis of place names. My goal is to offer a brief outline of this issue through my own investigations.
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Verner, Inna. "The legacy of Maximus the Greek in the biblical revision of Euthymius Chudovsky (1680s)." In Tenth Rome Cyril-Methodian Readings. Indrik, 2020. http://dx.doi.org/10.31168/91674-576-4.04.
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The paper explores the use by Euthymius Chudovsky of Maximus the Greek’s achievements in the linguistic revision of biblical texts. Correction and translation of the New Testament by Euthymius in the 1680s demonstrates not only the appeal to the texts translated by Maximus as language patterns, but also the development of his philological criticism of the text of Holy Scripture and its interpretation.
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Fateeva, I. "“AN EVERLASTING DAY” (IN RELATION TO THE PAINTING “HUNTERS IN THE SNOW” BY PIETER BRUEGEL)." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2554.978-5-317-06726-7/93-96.
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The article gives an aesthetic interpretation of the art criticism judgment - “An everlasting day” in relation to the painting “Hunters in the Snow” by the Dutch artist, representative of the Northern Renaissance (16th century) Pieter Bruegel (Muzhitsky). In the context of the ideas of phenomenological aesthetics, the type of painting is determined, a conclusion is made about the applicability of the considered judgment to paintings of a certain type, examples of such works from Russian art are given.
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Lima, Cláudia, Susana Barreto, and Rodrigo Carvalho. "Interpreting Francis Bacon's Work through Contemporary Digital Media: Pedagogical Practices in University Contexts." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001420.
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This paper describes two pedagogical practices based on Francis Bacon’s graphic Works. One in a curricular context, held at Escola Superior Artística do Porto, and the other in an extracurricular context held at Universidade Lusófona do Porto (both in Portugal), which aimed to stimulate students towards a critical analysis and interpretation of Francis Bacon's work and its recreation using contemporary digital media. This initiative was integrated in the Graphic Works of Francis Bacon exhibition at the World of Wine Museum in Vila Nova de Gaia and was the result of a collaboration between this Museum, the Academy and the Renschdael Art Foundation, a collaboration that aimed to give voice and life to a debate emerging from the exhibition of the work of art and its multimedia translation. Hence, it was intended to complement the exhibition of the artist's works with a multimedia language, through multiple interpretations and digital animations of the Painter's work made by the students and targeted at digital natives as one stream of the exhibition was to target local primary and secondary schools.The participants involved in this project came from various BAs, including Communication Design, Fine Arts and Intermediate, Visual Arts - Photography, Cinema and Audiovisual, Audiovisual Communication and Multimedia, Video Games and Multimedia Applications. This allowed to bring together multidisciplinary groups of students with different profiles and backgrounds, contributing to a myriad of results both in visual terms and technological resources, which included approaches such as: the use of techniques close to rotoscoping in which students created drawings frame by frame over the original images; the exploration of cut-out animation techniques; the recreation of Francis Bacon's work in 3D; explorations of image manipulation, editing, and video effects.In an academic context, these practices resulted in an in-depth knowledge of the work of an artist from a generation different from that of the students; an opportunity for them to work with a real client, applying in a project the knowledge obtained in various curricular units of the BAs they are attending; and the possibility of seeing their work integrated in an international exhibition. As regards to the Graphic Works of Francis Bacon exhibition, this academic project brought a new dynamic to the space combining graphic works by the Painter with multiple interpretations of a generation to whom digital media are omnipresent.In this paper, the pedagogical practices adopted in both Universities are described, projects by students are analyzed as well as the contribution that these projects brought to the exhibition through information gathered from visitors, from articles published on the event and through an interview conducted with the exhibition curator.The exhibition, according to the commissioner, Charlotte Crapts, had an "impressive" turnover bearing in mind that the country was going through Covid restrictions. In the commissioner’s view, the multimedia interventions created a bridge with the educational sector and following this, the exhibition interacted with a great number of youngsters. This was a pioneer exercise in the exhibition space that will be followed in future exhibitions.
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Xu, Manyan. "A New Interpretation of Chinese Versions of Stray Birds Based on Reiss's Translation Criticism A Case Study of the Translations by Feng Tang and Zheng Zhenduo." In Proceedings of the 2nd International Conference on Contemporary Education, Social Sciences and Ecological Studies (CESSES 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/cesses-19.2019.128.
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Aravot, Iris. "An Attempt at Making Urban Design Principles Explicit." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.42.
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Since its rise as an autonomous field in the seventies, Urban Design has been a conglomerate of diverse concepts and value outlooks.The present approach, which is an a posteriori propositional expression of applications in actual practice and education, presents both theory and method by means of ten points. The approach is basically generated by formal considerations, thus originating in and focussing on aspects which cannot be expressed through theory and methods of other disciplines. It starts with systematic, conventional and objective studies which are then connected to a system of manipulations – the rules of game – which emphasize interpretation and are clarified by narrative and formal metaphors. The ‘rules of game’ set a framework of no a priori preferred contents, which is then applied according to local characteristics, needs and potentials. This conceptual – interpretative framework imposes a structural, consistent and hierarchical system on the factual data, so as to assure the realization of two apparently opposed values: (1) unity and phenomenological qualities and (2) free development and unfolding of the design that .The propositional expression of the approach aims at its exposure to explicit evaluation and criticism.
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Aslandogan, Y. Alp. "PRESENT AND POTENTIAL IMPACT OF THE SPIRITUAL TRADITION OF ISLAM ON CONTEMPORARY MUSLIMS: FROM GHAZALI TO GÜLEN." In Muslim World in Transition: Contributions of the Gülen Movement. Leeds Metropolitan University Press, 2007. http://dx.doi.org/10.55207/mnsp5562.
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Western analysts of trends in the contemporary Islamic world often overestimate the impact of contemporary Sufi orders and/or underestimate the impact of the spiritual tradition of Islam. Among the elements of the spiritual tradition conducive to religious pluralism is the ‘mirror’ concept: every human is seen as a mirror of God in three aspects: reflecting the at- tributes and names of God as His work of art, reflection through dependence on God, and reflection through actions God commands or commends. Since only the last aspect is vol- untary, every human, regardless of creed, is a mirror of God in at least the first two aspects. This is a potent argument for peaceful coexistence in religious diversity. The perspective of the spiritual tradition is emphatically inclusive and compassionate and naturally lends itself to non-violence, going beyond mere tolerance to hospitality and friendship. There are impor- tant impediments that prevent this perspective from having a greater impact: (1) the literalist opposition to flexible interpretation of concepts from the Qur’an and the Prophetic tradition, and the wide definition of innovation or heresy (‘bid`a’); (2) deviations of some Sufi orders and subsequent criticisms by orthodox Muslims; and (3) the impact of the politicisation of religion by some groups and political moves by certain Sufi orders. This paper argues that the only approach that has a chance of influencing the majority of contemporary Muslims in positive ways without being open to criticism is the ‘balanced’ spiritual tradition, after the style of the Companions, sometimes called tasawwuf, which strives to harmonise the outer dimensions of Islamic law and worship with the inner dimen- sion of spiritual disciplines firmly rooted in the Qur’an and Prophetic tradition. This paper will present an analysis of this ‘balanced’ spiritual tradition in Islam, from Ghazali, through Rumi, to Gülen.