Journal articles on the topic 'Historical fiction, Italian History and criticism'
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1
Pezzotti, Barbara. "“I am Just a Policeman”: The Case of Carlo Lucarelli’s and Maurizio de Giovanni’s Historical Crime Novels Set during Fascism." Quaderni d'italianistica 37, no. 1 (June 9, 2017): 89–106. http://dx.doi.org/10.33137/q.i..v37i1.28280.
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This article analyzes two successful Italian novels set during the Ventennio and the Second World War, namely Carlo Lucarelli’s Carta bianca (1990) and Maurizio De Giovanni’s Per mano mia (2011). It shows how Lucarelli confronts the troubling adherence to Fascism through a novel in which investigations are continually hampered by overpowering political forces. By contrast, in spite of expressing an anti-Fascist view, De Giovanni’s novel ends up providing a sanitized version of the Ventennio that allows the protagonist to fulfil his role as a policeman without outward contradictions. By mixing crime fiction and history, Lucarelli intervenes in the revisionist debate of the 1980s and 1990s by attacking the new mythology of the innocent Fascist. Twenty years later, following years of Berlusconi’s propaganda, De Giovanni waters down the hybridization of crime fiction and history with the insertion of romance and the supernatural in order to provide entertaining stories and attract a large audience. In the final analysis, from being functional to political and social criticism in Lucarelli’s series, the fruitful hybridization of crime fiction and history has turned into a mirror of the political and historical de-awareness of Italian society of the 2000s in De Giovanni’s series.
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Burger, Willie. "Historiese korrektheid en historiese fiksie: ’n respons." Tydskrif vir Letterkunde 52, no. 2 (February 17, 2015): 78. http://dx.doi.org/10.4314/tvl.v52i2.6.
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Historical correctness and historical fiction: a responseIn this article the relationship between history and fiction is examined in response to the historian, Fransjohan Pretorius’s criticism of recent Afrikaans fiction about the Anglo-Boer War in Tydskrif vir Letterkunde 52.2 (2015). The intricate relationship between history and fiction is examined by pointing, on the one hand to the problematic of the relationship between history and the past and on the one hand, to the difference between fiction and history. The function of aesthetic illusion, verisimilitude and conceptions of reference is investigated theoretically before turning to the specific novels that Pretorius discusses. The article shows that historical fiction cannot be restricted to novelized versions of accepted history, but that historical fiction also reminds the reader that the past is always culturally mediated and that the primary aim of novels is not to represent the past but to examine aspects of human existence. A comparison between fiction and history can therefore not be used as a norm to assess novels.
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Green, Alison. "‘A Supreme Fiction’: Michael Fried and Art Criticism." Journal of Visual Culture 16, no. 1 (April 2017): 89–102. http://dx.doi.org/10.1177/1470412917700931.
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One of the striking aspects of the trenchant legacy of Michael Fried’s ‘Art and Objecthood’ is its status as a piece of art criticism. Widely perceived as difficult and personal, philosophical and explicatory, doxa or sermon, the essay stands out. To explore its singularity, this article compares Fried’s conception of the period criticism of 18th-century French painting in his book Absorption and Theatricality: Painting and Beholder in the Age of Diderot (1980) and the method of criticism enacted in ‘Art and Objecthood’ (1967) which he saw as connected. The author pursues this and other crossings between Fried’s art historical writings and art criticism, tracking it to an extended endnote in Fried’s Menzel’s Realism: Art and Embodiment in Nineteenth-Century Berlin (2002). ‘Art and Objecthood’ is a key essay in this story aimed at Fried’s thinking about criticism, its history, theory and practice. Doing this matters because it puts the critic in a particular relation to art and to Fried’s idea of an ‘ontologically prior relationship between painting and the beholder’.
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Heise-von der Lippe, Anya. "Histories of Futures Past: Dystopian Fiction and the Historical Impulse." Zeitschrift für Anglistik und Amerikanistik 66, no. 4 (December 19, 2018): 411–25. http://dx.doi.org/10.1515/zaa-2018-0035.
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Abstract This article traces the historical impulse in two intertextually connected dystopian texts – George Orwell’s 1984 (1949) and Margaret Atwood’s The Handmaid’s Tale (1985) – by reading the two novels in the context of the construction of historical narrative after the proclaimed ‘end of history’ in the twentieth century. It considers their representation of history within the framework of literary criticism of the historical novel (György Lukács), critical dystopias (Tom Moylan), and memory as an active, mediated engagement with the past (Astrid Erll and Ann Rigney). It looks, more specifically, at how the texts contrast personal experience and the meta-narrative contemplation of memory with institutionalized versions of history on different diegetic levels by juxtaposing the narrators’/focalizers’ view of history with that presented in the framework of pseudo-historical appendices that accompany and significantly modify the interpretations of both narratives.
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Lähteenmäki, Ilkka. "Possible Worlds of History." Journal of the Philosophy of History 12, no. 1 (March 22, 2018): 164–82. http://dx.doi.org/10.1163/18722636-12341354.
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Abstract The theory of possible worlds has been minimally employed in the field of theory and philosophy of history, even though it has found a place as a tool in other areas of philosophy. Discussion has mostly focused on arguments concerning counterfactual history’s status as either useful or harmful. The theory of possible worlds can, however be used also to analyze historical writing. The concept of textual possible worlds offers an interesting framework to work with for analyzing a historical text’s characteristics and features. However, one of the challenges is that the literary theory’s notion of possible worlds is that they are metaphorical in nature. This in itself is not problematic but while discussing about history, which arguably deals with the real world, the terminology can become muddled. The latest attempt to combine the literary and philosophical notions of possible worlds and apply it to historiography came from Lubomír Doležel in his Possible Worlds of Fiction and History: The Postmodern Stage (2010). I offer some criticism to his usage of possible worlds to separate history and fiction, and argue that when historiography is under discussion a more philosophical notion of possible worlds should be prioritized over the metaphorical interpretation of possible worlds.
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Gurenkova, Julia V. "Perception of absurdistic texts of Achille Campanile in criticism." Philological Sciences. Scientific Essays of Higher Education, no. 5 (September 2022): 164–70. http://dx.doi.org/10.20339/phs.5-22.164.
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The article presents an overview of the critical reception of the work of the Italian writer of the twentieth century Achille Campanile. The relevance of this study lies in the fact that it analyzes the work of a little-known Italian writer-comedian in Russia, which has not been sufficiently studied in Russian literary criticism and in foreign science. Officially, the works of Campanile are not classified as absurdism as a direction, however, according to some critics, this author should be considered not just a predecessor, but the founder of the theater of the absurd. Accordingly, the study of the poetics of A. Campanile’s comedies is necessary from the point of view of analyzing the genesis of absurdism in Western Europe. The purpose of the study is to comprehend the role and significance of the author’s heritage in the history of Italian and world literature. The main methodological basis of the study is a combination of biographical, historical-literary, historical-cultural and comparative research methods. The materials presented in the article allow us to conclude that in the work of A. Campanile, some critics identify common features with futurism, surrealism and absurdism. Researchers of Campanile’s work generally highly appreciate the talent of the writer, highlight the main techniques used by the author to create a comic effect, a feature of the style and language of the works.
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Drozdova, Daria N. "Francis Bacon, Between Myth and History." Epistemology & Philosophy of Science 58, no. 3 (2021): 6–21. http://dx.doi.org/10.5840/eps202158339.
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Over the last 400 years, attitudes toward Francis Bacon's philosophy have changed considerably: the 17-century interest and the 18-century enthusiasm have been replaced by the 20-century criticism and reevaluation. However, both the praise and the rejection of the Lord Chancellor’s philosophical ideas often originate from the isolation and absolutization of particular features of his philosophy that can sometimes be in opposition to each other. These partial readings are justified by the fact that the reference to Bacon’s methodological and epistemological legacy has a symbolic meaning and is part of what is called “image of science” in Y. Elkana’s terminology. The way in which references to Bacon are used at different times and in different contexts is, in fact, a functional myth or theoretical fiction (I. Kasavin) in which the “historical Bacon” is fading away and what emerges is important and meaningful to those who declare themselves his followers or who lash out at him with criticism.
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Enslen, Joshua Alma. "Between diplomacy and letters: a sketch of Manuel de Oliveira Lima's search for a Brazilian identity." História (São Paulo) 24, no. 2 (2005): 243–59. http://dx.doi.org/10.1590/s0101-90742005000200010.
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Manuel de Oliveira Lima as an important diplomat of the First Republic in Brazil reflects on an individual, national, and universal plane the convergence of politics and literature. His writing demonstrates an explicit attempt to construct a national identity that emanates not only between literature and diplomacy, but also between the personal and the historical, as well as, the foreign and the national. This paper analyzes brief examples of his criticism, personal correspondence, and fiction that demonstrate the convergence of these fields.
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Kambon, Ọbádélé Bakari, and Lwanga Songsore. "Fiction vs. Evidence: A Critical Review of Ataa Ayi Kwei Armah’s Wat Nt Shemsw and the Eurasian Rhetorical Ethic." African and Asian Studies 20, no. 1-2 (April 27, 2021): 124–53. http://dx.doi.org/10.1163/15692108-12341486.
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Abstract At the 2018 Outstanding African Thinkers Conference on Nna Chinweizu, attendees – the first author included – took a pledge that “In all branches of our lives, we must be capable of criticizing and of accepting criticism. But criticism, proof of the willingness of others to help us or of our willingness to help others, must be complemented by self-criticism – proof of our own willingness to help ourselves to improve our thoughts and our actions. This is a sacred principle and it is my sacred duty to apply and defend it at all costs” (Chinweizu 2018). In response to that call to action, this article represents an effort to restore MꜢꜤt ‘Maat.’ Ataa Ayi Kwei Armah’s Wat Nt Shemsw: The Way of Companions epitomizes undeclared fiction masquerading as an accurate reflection of the mythology of classical Kmt ‘Land of Black People.’ By cross-checking Ataa Armah’s undeclared fiction with actual historical, iconographical, and archaeological data, we are able to debunk his numerous misrepresentations. We find that the best way to approach Kmt ‘Land of Black People’ is through direct engagement with actual evidence rather than through the distortions of fiction writers turned Egyptologists. Further, we will address the personality cult, or what we term “Ataa Armah’s Manor Shemsw model,” which embodies the rhetorical ethic whereby all egalitarians are equal, but some egalitarians are more equal than others (Orwell, Baker, and Woodhouse 1996).
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Weiser, Frans. "Contextualizing History-as-Adaptation: An Interdisciplinary Comparison of Historical Revisionism." Adaptation 12, no. 2 (May 27, 2017): 105–17. http://dx.doi.org/10.1093/adaptation/apx009.
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Abstract The return to history in the humanities during the 1980s prompted literary and film scholars to question historiography’s empirical scientific status, as they instead argued that history shared more in common with fiction while their own fields of study provided means of democratizing the historical record. The concept of history-as-adaptation, recently introduced by Laurence Raw and Defne Ersin Tutan, and further developed by Tom Leitch, draws upon several of the same goals as these earlier revisionist critiques. This article contextualizes how external revision of history has been used by disciplines as a means of solidifying their own identities, despite the fact that history departments have not responded to such criticism. Through a cross-disciplinary analysis of the postmodern interrogation of historical claims, I seek to not only contextualize the adaptive turn but also demonstrate how the field’s comparative identity provides a means of transcending oppositional discourse. Drawing on the work of Robert Berkhofer, I establish a supplemental interpretation of history-as-adaptation, demonstrating the advantages of applying adaptive strategies to the documentary framework at the heart of historical methodology.
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Cufurovic, Mirela. "Popular Imagination Versus Historical Reality." Public History Review 25 (December 27, 2018): 1–16. http://dx.doi.org/10.5130/phrj.v25i0.6157.
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Historical films have been subject to controversy and criticism within the discipline of history upon the rise of popular interest in new and innovative forms of historical representation. The five to seven years between the release of Gladiator (2000) and Rome (2005-2007) saw an upsurge of historical films focusing on the ‘epic’: the spectacular, monumental and immersive periods of history that exude a mix of historical reality and speculative fiction. This paper argues that it is not historical accuracy or film as historical evidence that matters, but the historical questions and debates that film raises for its audience and the historical profession regarding the past it presents and its implication on history. Such questions and debates base themselves around the extent to which filmmakers are able to interpret history through images and what kind of historical understandings it hopes to achieve. This paper analyses the complexity of public history through a comparative study of reviews on five online message boards, such as IMBD, Amazon, TV.com and Metacritic, relating to HBO’s Rome – chosen due to its unique ability of igniting historiographical debate by presenting history as an accident, thus allowing audiences to question and reinterpret the outcome of historical events.
KEYWORDSHBO; Rome; Film; Historiography; Public History; Popular Imagination
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Sandberg, Russell. "The Employment Status of Ministers: A Judicial Retcon?" Religion & Human Rights 13, no. 1 (March 27, 2018): 27–48. http://dx.doi.org/10.1163/18710328-13011152.
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Abstract “Retroactive continuity”, often abbreviated as “retcon”, is a term often used in literary criticism and particularly in relation to science fiction to describe the altering of a previously established historical continuity within a fictional work. To date, however, the concept has not been used in relation to law. Legal judgments often refer to history and include historical accounts of how the law has developed. Such judgments invariably include judicial interpretations of history. On occasions, they may even include a “retconned” interpretation of legal history – a “judicial retcon” – that misrepresents the past and rewrites history to fit the “story” of the law that the judge wants to give. This article explores the usefulness of a concept of a “judicial retcon” by means of a detailed case study concerning whether ministers of religion are employees.
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Torrance, Ronald. "Kristin Stapleton (2016). Fact in Fiction: 1920s China and Ba Jin’s Family." British Journal of Chinese Studies 8, no. 2 (March 1, 2019): 156–60. http://dx.doi.org/10.51661/bjocs.v8i2.5.
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There are few resources amongst contemporary Chinese literary criticism that manage to weave such insightful literary readings and incisive historical research as Kristin Stapleton’s Fact in Fiction: 1920s China and Ba Jin’s Family. The book accomplishes three feats, as set out by Stapleton in her introductory chapter, simultaneously incorporating a history of twentieth-century Chengdu (and its relevance to the developments in China during this period, more broadly) alongside the author’s biography of Ba Jin’s formative years in the city and the historiographical context of his novel Family. Such an undertaking by a less skilled author would have, perhaps, produced a work which simplifies the rich historical underpinnings of Ba Jin’s Family to supplementary readings of the novel, coupled with incidental evidence of the political and social machinations of the city in which its author grew up. Not so under Stapleton’s careful guidance. By reading the social and economic development of early twentieth-century Chengdu as much as its fictional counterpart in Ba Jin’s Turbulent Stream trilogy, Stapleton provides a perceptive reading of Family which invites the reader to consider how fiction can enrich and enliven our understanding of history.
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Wiesner-Hanks, Merry E. "Women, Gender, and Church History." Church History 71, no. 3 (September 2002): 600–620. http://dx.doi.org/10.1017/s000964070013029x.
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As befits an article encouraging reflection, I would like to start with a personal anecdote. I recently heard a paper by a prominent literary scholar, which I thought would be an analysis of his encounter with a text. (I am familiar enough with current literary analysis to know that it would certainly not be an analysis of a text.) It turned out instead to be purely autobiographical. In talking about this later with a friend of mine from the Italian department, he told me that this was a new trend. As he put it: “We used to do Dante's life and works, then with New Criticism we did ‘the work,’ then with New Historicism we did Dante's works in their historical location, then with post-structuralism we did Dante and me, and now we just do me.’
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Mancosu, Paola. "Tiempo e historia en De cuando en cuando Saturnina." Bolivian Studies Journal/Revista de Estudios Bolivianos 23 (December 19, 2018): 1–23. http://dx.doi.org/10.5195/bsj.2018.181.
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This paper rises from a reflection on the notion of ‘time’, ‘history’, and ‘past’ starting from an analysis of the science fiction novel De cuando en cuando Saturnina -Saturnina from time to time- Una historia oral del futuro (2004), written by Alison Spedding (Belper, Inglaterra, 1962). In particular, it will be shown how the novel to dispute the historical narrative and the temporal linearity, and advance an acute social criticism of the contemporany Bolivia and, above all, against the hierarchies of power in its intersectionality of ‘race’, class and gender, as historical constructions that legitimize social inequalities. Finally, this article aims to explore the narrative mechanisms through which the ideas of oral “counter-history” and Aymara temporal “concentricity” are reflected in the novel, at a structural and thematic level.
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Davies, Jude. "The Occasions of Theodore Dreiser’s Literary Criticism – a View from the Theodore Dreiser Edition." Literature of the Americas, no. 11 (2021): 271–88. http://dx.doi.org/10.22455/2541-7894-2021-11-271-288.
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Theodore Dreiser published over fifty items of literary criticism between 1900 and 1945 on a wide variety of subjects, while additional discussion of literary matters is scattered through his correspondence, memoirs, unpublished speeches, and cultural and philosophical essays. Hitherto this work has proved useful piecemeal, in its illumination of Dreiser’s fiction, while a few outstanding pieces have served to define Dreiser’s version of realism or literary naturalism. This essay takes the literary criticism seriously as a body of work in itself, sketching out some categories and topics, and providing detailed historical contexts for several items, which reveal under-appreciated nuances and engagements in even better-known pieces such as “True Art speaks Plainly” and “Life, Art and America.” The essay sees coherence across the diverse foci of Dreiser’s literary criticism via the concept of the “occasions of literary criticism,” by which is meant the historical and cultural contexts into which he was writing. It charts the roots of Dreiser’s literary criticism in his need to respond to charges of “literary immorality,” its growth through his very particular response to censorship, and its maturity in his suggestion, in a speech given as part of the peace conference in Paris in 1938, of an American literary tradition dedicated to social justice, taking in Mark Twain and H. D. Thoreau as well as the expected cohort of realists and naturalists. The essay concludes by relating these contexts and preoccupations to the history and practice of the Theodore Dreiser Edition.
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Nikolić, Časlav V. "„KAD BIH BIO ISTORIČAR“: VULKANI I ISTORIJA U ROMANU „KOD HIPERBOREJACA“ MILOŠA CRNjANSKOG." Nasledje, Kragujevac XVIII, no. 50 (2021): 371–88. http://dx.doi.org/10.46793/naskg2150.371n.
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When we repeat the question of Wilhelm Dilthey about the possibility of historical cog- nition with Peter Sloterdijk, our interpretation will shed light on the perspective of the heroes in the novel At Hyperboreans by Miloš Crnjanski. This hero thinks of himself as a historian by taking into account what preceded written history. What precedes official history is not only what has not been recorded in human existence, but above all those values that establish our planet. The comprehensive historical opinion about Italy and Rome, as Crnjanski examines in fiction, also implies a geological understanding of the Italian peninsula. Insights into the genesis of the soil can be seen in what shapes the conditions in which culture is created. That is why Crnjanski says that volcanoes define the beginning of Italian civilization. When the story of the beginning becomes the story of volcanoes, the narrative transforms historical thinking. From the historical, anthropogonic and polytygonic consciousness, that opinion opens to cos- mogonic phenomena. In this paper, narrative and symbolic aspects of the geological drama of our world are examined as elements of the apocalyptic image of Rome before the beginning of the Second World War.
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Kartika, Bambang Aris, Nanik S. Prihatini, Sri Hastanto, and D. ,. Dharsono. "ANALYSIS OF DOCUDRAMA HISTORY AND REFERENTIAL RECONSTRUCTION OF SANG KIAI MOVIES: ADAPTATION OF BIOGRAPHICAL HISTORIOGRAPHIC TEXTS TO BIOPIC FILM." Capture : Jurnal Seni Media Rekam 10, no. 2 (April 23, 2019): 20–44. http://dx.doi.org/10.33153/capture.v10i2.2366.
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This article discusses about the conception of adaptation of biographical historiographic texts into the medium text in the Sang Kiai film which is a type of historical docudrama film. Adaptation conception shows a transposition pattern of content from historical biographical narrative texts constructed into the text medium of Sang Kiai film. By conducting a study on the Sang Kiai film through approaches of adaptation and heuristic, hermeneutic, and internal criticism methodology has produced a pattern of referential reconstruction in the production of historical genre film texts, especially in the types of biopic films. The Sang Kiai film is a moving picture biography of the K.H. Hasyim Asy'ari figure who narrated historical facts about the nationalism of the founder of the Nahdlatul Ulama (NU) against the colonialist hegemony of Japanese and Allied fascist armies. Thus, the docudrama film which is positioned as a document of visualization of the historical facts about the past that is presented today through the reproduction of historical texts in the biopic film medium. The pattern of referential reconstruction shows that the biopic film of the Sang Kiai is a representation of the truth of the biographical facts of the K.H. Hasyim Asy'ari figure, although it was produced and presented through historical fiction film text
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Mithen, Nicholas. "A Taste for Criticism: ‘Buon Gusto’ and the Reform of Historical Scholarship in the Early Eighteenth-Century Italian Republic of Letters." Erudition and the Republic of Letters 4, no. 4 (October 26, 2019): 439–67. http://dx.doi.org/10.1163/24055069-00404003.
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Historians of scholarship and intellectual historians have recently been paying more attention to the social and epistemic conditioning of scholarly production. Informed by the history of science, such scholarship has shed light upon how knowledge production changed over time, and how its ‘legislation’, ‘administration’, and ‘institutionalisation’ varied in different contexts. This article explores the reform of intellectual culture in the early eighteenth-century Italian republic of letters, as a case-study in the application of such emergent methodologies. From around 1700, a nexus of ethical, aesthetical and epistemological ideals began to crystallize on the Italian peninsula, codified under the concept of ‘buon gusto’ or ‘good taste’. ‘Buon gusto’ became a point of reference for individual scholars, scholarly communities and literary journals seeking to reform scholarly practice. This led to the normalization of historical criticism as the dominant scholarly mode among Italian scholars by the mid-eighteenth century.
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Winstead, Karen A. "Critical Fiction: Reading Seinte Margarete through Robyn Cadwallader’s The Anchoress." Hiperboreea 47, no. 2 (July 1, 2021): 189–209. http://dx.doi.org/10.5325/jmedirelicult.47.2.189.
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Abstract This article examines Robyn Cadwallader’s 2015 novel The Anchoress as an interpretation of the early thirteenth-century saint’s life Seinte Margarete. The Anchoress is at once a scrupulously researched historical novel and what the author calls a “critical fiction,” that is, a work of fiction that undertakes the same analytical project as conventional literary criticism: it self-consciously interprets a narrative through its own narrative and investigates many of the same issues that are explored in more familiar forms of literary scholarship and cultural history. The author analyzes The Anchoress’s critical strategies and considers how it can prompt us to think in new and creative ways about Seinte Margarete and the devotional culture that produced it. As it interprets Seinte Margarete, this article shows, Cadwallader’s novel mimics the medieval text, producing a Saint Margaret for a twenty-first-century secular audience. Despite their limitations, which are also considered, critical fictions such as Cadwallader’s can deepen our appreciation of the past we love and stimulate us to rethink its relation to the present we inhabit.
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Francese, Joseph. "Leonardo Sciascia's L'affaire Moro: Re-writing fact, which can be stranger than fiction." Modern Italy 17, no. 3 (August 2012): 383–98. http://dx.doi.org/10.1080/13532944.2012.659449.
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The author contends that Leonardo Sciascia's L'affaire Moro is not a work of non-fiction, as Sciascia proposed, but of historical fiction, and that Sciascia's Moro is a literary character, more a spokesperson for Sciascia's political views than a reflection of the historical figure. Sciascia's Moro embodies the same qualities as many of Sciascia's other protagonists, such as a radical individualism and willingness to sacrifice all in order to protect their dignity and liberty. What emanates from the text is a ‘postmodern’ blend that interprets and imposes a narrative hierarchy on events, and conveys a mental reality that need not necessarily coincide with what can be proven with evidence. In fact, Sciascia combines factual information and his own ‘conjectural knowledge’ to convince his reader of the ‘moral truth’ of his argument. Sciascia's is indeed a strong narrative in that it succeeded in shaping how the Italian public views to this day a critical juncture in its recent history.
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Tobin, Vera. "Ways of reading Sherlock Holmes: the entrenchment of discourse blends." Language and Literature: International Journal of Stylistics 15, no. 1 (February 2006): 73–90. http://dx.doi.org/10.1177/0963947006060556.
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Current work on conceptual integration and literary texts often features detailed analysis of a single reading of a text in terms of the conceptual integration networks involved in constructing that interpretation. However, a single linguistic form can inspire manifold readings. This article takes a historical view of the conceptual blends involved in a range of different literary interpretations generated by different groups of readers of a single set of texts, the Sherlock Holmes detective stories by Arthur Conan Doyle. First, it examines the case of the numerous and diverse historical readers who took these fictional texts to be non-fiction, and how their conceptions mirror and diverge from the ways readers become immersed in texts they know to be fiction. This is followed by an analysis of the early ‘Sherlockian’ essays, criticism operating under the pretense of a historical Holmes and a historical Watson who recorded his adventures with varying accuracy. In the Sherlockian tradition, something very like the naïve believer stance independently emerges from this playful and parodic novel blend. The history of this stance among its practitioners is then shown to be an example of the routinization of a blend within a discourse community. These complex discourse blends turn out to have much the same capacity for entrenchment and semantic change as any grammatical construction.
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Zitko, Mislav. "Models, fictions and explanations: A study in historical epistemology of economics." Filozofija i drustvo 24, no. 4 (2013): 84–101. http://dx.doi.org/10.2298/fid1304084z.
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This paper examines the standard criticism of the neoclassical economic theory that takes mathematical formalism and the practice of modelling as the most problematic aspect of orthodox economics. The aim of the paper is to explore the epistemic properties of models in science (particularly in economics), and to incorporate the insights from the recent debates in the philosophy of science into the framework of historical epistemology of economics. The main claim of this paper is that history is important for understanding how economic models operate and why have they been accepted as legitimate instruments of inquiry in economic theory. However, since modelling practice clearly is not limited to neoclassical economic theory, the difference between economic orthodoxy and heterodoxy has to be explained in a different way. The paper argues that the theory of fiction can provide an important clue inasmuch as the epistemological and political commitments are a part of the story that underpins the modelling practice in economics.
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Kisantal, Tamás. "The Practical Past as a Field of Metahistorical Approach. Some Remarks on the Contemporary Situation of Historical Theory." Acta Universitatis Sapientiae, Philologica 11, no. 1 (November 1, 2019): 109–23. http://dx.doi.org/10.2478/ausp-2019-0008.
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Abstract The narrative theory of history that studies historical works from the viewpoint of their narrative, rhetorical devices, and ideological strategies highly emphasized the necessity of renewing historiography. In his early essays, the trend’s founding father, Hayden White, positioned history between art and science or fiction and reality and defined the role of historical theory as a kind of “critical historiography” that is both a criticism of actual historical works and a prescriptive theoretical approach with which the contemporary historical discipline can reform itself. This renewal basically meant a formal reorganization with which the historical works and the historical discipline itself could come closer to literature by using narrative methods and rhetorical devices of recent literary works and films. However, after the 1990s, White and his followers had to face some radical problems that compelled them to rethink the role of recent historiography and their theoretical positions as well. Firstly, the so-called “new” historiography did not actually come into existence, or at least not in a way they suggested. Secondly, new forms of “unofficial” history, from varieties of public history through conspiracy theories to contemporary historical fictions, forced to reconceptualize the task of historical theory and its approach to the social and ideological functions of “official” history. Analysing some recently published works of this trend (above all, Hayden White’s concept of “modernist event” and his distinction between two forms of the past, theoretical and practical), my essay tries to define the situation of historical theory among the forms of contemporary historical experience.
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Cornell, Saul. "Moving Beyond the Canon of Traditional Constitutional History: Anti-Federalists, the Bill of Rights, and the Promise of Post-Modern Historiography." Law and History Review 12, no. 1 (1994): 1–28. http://dx.doi.org/10.1017/s0738248000011238.
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Few aspects of post-structuralist literary criticism have garnered as much attention and provoked as much controversy as the move to challenge the idea of a fixed literary canon of great texts. The implications of deconstructing the canon extend well beyond the study of fiction. All fields of scholarship have a canon of established texts, methodologies, and questions. Critiques of the literary canon resemble the challenge to conventional history posed by the new social history and its efforts to write a history from the bottom up that would supplant traditional historical scholarship. A similar revisionist effort is now only just beginning to emerge in constitutional historiography. Proponents of “a new constitutional history” are seeking to challenge the canon of traditional constitutional history. While this revisionist project has not been cast in post-structuralist terms, the perspective provided by recent critical theory can refine the practice of the new constitutional history.
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Willman, Kate. "Unidentified narrative objects: Approaching instant history through experiments with literary journalism in Beppe Sebaste’s H. P. Lady Diana’s Last Driver and Frédéric Beigbeder’s Windows on the World." Journalism 21, no. 7 (August 19, 2017): 1007–22. http://dx.doi.org/10.1177/1464884917722722.
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The subjects of the two texts analysed in this article are two highly significant recent historical events: the death of Lady Diana in a car crash after being chased by paparazzi on 31 August 1997 and the attacks on the World Trade Center in New York City on 11 September 2001, which are addressed by the Italian writer Beppe Sebaste and the French writer Frédéric Beigbeder, respectively. An analysis of each text shows that they not only examine the events in question through reportage, but they are also strongly personal and subjective. Both texts also put forward literary writers to help ‘read’ extensively mediated events, provoking reflection on how news travels and is mediated in increasingly immediate ways in today’s world, while also harking back to New Journalism. They could be called ‘unidentified narrative objects’, a label I borrow from the Italian writer Roberto Bui, alias Wu Ming 1, who has applied it to a corpus of recent Italian texts (including that of Sebaste), that combine modes of writing – such as journalism, history, detective fiction and life-writing – often blurring the boundaries between fiction and nonfiction, in order to more effectively draw their readers’ attention to the national and global issues they address. Here, I extend the term unidentified narrative objects beyond Italy’s borders to the work of Beigbeder and others, suggesting that such hybridity is connected to how we process the world around us today and a new iteration of literary journalism.
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Stefanelli, Diego. "Appunti sulla stilistica (italiana) di László Gáldi." Italianistica Debreceniensis 23 (December 1, 2017): 108–21. http://dx.doi.org/10.34102/italdeb/2017/4644.
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The paper deals with László Gáldi’s Introduction to Italian Stylistics (1971), placing it in the coeval context of the methodological discussions between stylistics and structuralism in the 60s and 70s, as well as in the history of the Italian stylistics in the 20th century.
It investigates the theoretical sources of Gáldi’s book, which was influenced by different reference points: the European Romance philology, the Russian literary theory (mainly Viktor Žirmunskij’s approach to stylistics) and the Rumanian aesthetics and literary criticism.
Moreover, it shows the connection between the Introduction and Gáldi’s previous works, particularly the important book on the poetical style of Mihai Eminescu (1964), maybe Gáldi’s most relevant stylistic study, and other significant works of the same period (an interesting stylistic analysis of Musset’ Stances and a historical study of Rumanian versification).
In doing so, it shows the rich methodological and theoretical sources of Gáldi’s Introduction and the peculiar position of the Hungarian scholar in the history of European stylistics.
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Osmukhina, O. Yu, A. D. Karpov, and E. A. Beloglazova. "Christian Context of Historical Novel (Zakhar Prilepin’s “Abode”)." Nauchnyi dialog, no. 9 (September 29, 2021): 181–99. http://dx.doi.org/10.24224/2227-1295-2021-9-181-199.
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The specificity of the synthesis of elements included in the historical narrative, and Christian motives, images in the novel of the largest contemporary Russian prose writer Zakhar Prilepin is comprehended in the article. The relevance of the article is due to the need to build a coherent and consistent history of the development of Russian literature over the past two decades, an important part of which is the legacy of the popular writers. The scientific novelty of the work lies in the fact that for the first time in Russian literary criticism “Abode” is considered from the proposed perspective: its genre specificity is analyzed in a Christian context. It has been established that, despite the presence of elements of documentary, adventurous, love-psychological novels, in terms of genre, “The Abode” can be attributed to a historical novel (it depicts a turning point in Russian history through a conflict between historical figures and fictional “average” heroes, combines historical facts and fiction). At the same time, an interest in eternal moral issues, problems of life and death, conscience and duty, love and fidelity in their Christian understanding becomes a feature of Prilepin’s understanding of the historical theme. In their work, the authors of the article used comparative historical, biographical, socio-cultural methods, as well as the method of a holistic analysis of a work of art.
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Kinkley, Jeffrey C. "The Monster That Is History: History, Violence, and Fictional Writing in Twentieth-Century China. By David Der-Wei Wang. [Berkeley, Los Angeles and London: University of California Press, 2004. 402 pp. ISBN 0-520-23140-6.]." China Quarterly 182 (June 2005): 439–41. http://dx.doi.org/10.1017/s0305741005270261.
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This celebration of modern Chinese literature is a tour de force, David Wang's third major summation in English. He is even more prolific in Chinese. Wang's command of the creative and critical literatures is unrivalled.Monster's subject is “the multivalence of Chinese violence across the past century”: not 1960s “structural violence” or postcolonial “epistemic violence,” but hunger, suicide, anomie, betrayal (though not assassination or incarceration), and “the violence of representation”: misery that reflects or creates monstrosity in history. Monster thus comments on “history and memory,” like Ban Wang's and Yomi Braester's recent efforts, although for historical reasons modern Chinese literature studies are allergic to historical and sociological methodologies.Monster is comparative, mixing diverse – sometimes little read – post-May Fourth and Cold War-era works with pieces from the 19th and 20th fins de siècle. Each chapter is a free associative rhapsody (sometimes brilliant, sometimes tedious; often neo-Freudian), evoking, from a recurring minor detail as in new historicist criticism, a major binary trope or problematic for Wang to “collapse” or blur. His forte is making connections between works. The findings: (1) decapitation (loss of a “head,” or guiding consciousness?) in Chinese fiction betokens remembering or “re-membering” (of the severed), as in an unfinished Qing novel depicting beheaded Boxers, works by Lu Xun and Shen Congwen, and Wuhe's 2000 commemoration of a 1930 Taiwanese aboriginal uprising; (2) justice is poetic, but equals punishment, even crime, in late Qing castigatory novels, Bai Wei, and several Maoist writers; (3) in revolutionary literature, love and revolution blur, as do love affairs in life with those in fiction; (4) hunger, indistinct from anorexia, is excess; witness “starved” heroines of Lu Xun, Lu Ling, Eileen Chang and Chen Yingzhen; (5) remembering scars creates scars, as in socialist realism, Taiwan's anticommunist fiction, and post-Mao scar literature; (6) in fiction about evil (late Ming and late Qing novels; Jiang Gui), inhumanity is all too human and sex blurs with politics; (7) suicide can be a poet's immortality, from Wang Guowei to Gu Cheng; (8) cultural China's most creative new works invoke ghosts again, obscuring lines between the human, the “real,” and the spectral.
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Bassnett, Susan. "Struggling with the Past: Women's Theatre in Search of a History." New Theatre Quarterly 5, no. 18 (May 1989): 107–12. http://dx.doi.org/10.1017/s0266464x00002992.
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Theatre scholarship is only just beginning to respond to the insights and emphases suggested by feminist criticism. In this introductory article to what we intend to be a strong and continuing thread in NTQ, Susan Bassnett outlines the resulting problems, and explores the historical context and conditions in terms of one central issue – the role of women as performers (and non-performers) in the sixteenth and seventeenth centuries. She also examines some of the wider implications for theatre studies, affected as these also are by new historicist approaches to the study of cultural change. Susan Bassnett teaches in the Graduate School of Comparative Literary Theory in the University of Warwick, and has been a regular contributor to New Theatre Quarterly and other journals, notably in the field of Italian theatre. Her most recent books include a feminist study of Elizabeth I, and (in collaboration with John Stokes and Michael Booth) Bernhardt. Terry, Duse: the Actress in Her Time.
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Kozlyk, Ihor. "Being a Literary Critic: The Methodology of Specialist’s Life in the Profession (based on B. F. Egorov’s epistolary oeuvre)." Pitannâ lìteraturoznavstva, no. 104 (December 27, 2021): 197–238. http://dx.doi.org/10.31861/pytlit2021.104.197.
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The article, which is historical and scientific by character, presents the current humanitarian issues of professional epistolary communication of an outstanding Russian literary critic, Doctor of Philology, Professor B. F. Egorov (1926–2020) with fellow literary critics. The main directions of scientist’s active and versatile practices are considered on the grounds of his published letters and some letters to him in 1998–2020. The article focuses on professional communication and interaction between Ukrainian and Russian literary critics in the complex modern socio-historical and political conditions of interstate relations. The letters are published for the first time and are accompanied by the necessary historical and cultural comments and bibliographic notes. The material contained in them is important not only for the history of Russian and East Slavic literary criticism of the 20th century, but also it is relevant in terms of the prospects of academic studies of literature and the development of productive communication between scholars studying fiction in order to perform the main cultural function of literary studies.
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Huisman, Rosemary. "The discipline of English Literature from the perspective of SFL register." Language, Context and Text 1, no. 1 (February 4, 2019): 102–20. http://dx.doi.org/10.1075/langct.00005.hui.
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AbstractThe paper first traces the history and elaboration of the tertiary discipline English Literature through the 19th and 20th centuries to the present day, with special focus on the axiology, the values, given to the discipline and with a brief account of literary criticism and literary theory. It then refers to the work on registerial cartography in systemic functional linguistics (SFL) and explores the register of the contemporary discipline in first-order field of activity and second-order field of experience, with examples from the language of webpages and exam papers of Australian universities. It continues with a brief overview of the author’s own work using SFL in the study ofthe poeticandthe narrativein English poetry and prose fiction of different historical periods and concludes with a caveat on the central disciplinary process, that of interpretation.
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Amerini, Fabrizio. "Thomas Aquinas and Some Italian Dominicans (Francis of Prato, Georgius Rovegnatinus and Girolamo Savonarola) on Signification and Supposition." Vivarium 51, no. 1-4 (2013): 327–51. http://dx.doi.org/10.1163/15685349-12341252.
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Abstract Supposition is a controversial logical theory. Scholars have investigated many points of this doctrine such as its historical origin, its use in theology, the logical function of the theory, or the relationship between supposition and signification. In the article I focus on this latter aspect by discussing how some Italian, and in particular Florentine, Dominican followers of Aquinas—Francis of Prato (d. 1348), Girolamo Savonarola (d. 1498), and Georgius Rovegnatinus (d. after 1500)—explained the relation between the linguistic terms’ properties of signifying and suppositing, and hence the division of supposition. After sketching out Thomas Aquinas, Hervaeus Natalis, and William of Ockham’s positions on the relationship between signification and supposition, I closely examine Francis’s criticism of Ockham. Francis follows Walter Burley’s account of supposition and considers the statement that a term has simple supposition when (i) it is taken not significatively and (ii) stands for an intention of mind as the weak point of Ockham’s explanation of supposition. According to Francis, if this were the case, there would be no semantic basis for differentiating simple from material supposition. Francis is however hesitant about the full subordination of supposition to signification, especially with regards to material supposition, when a term, suppositing for itself, is taken to signify itself besides its meaning. More than one hundred years later, Girolamo Savonarola and Georgius Rovegnatinus have no doubt about the fact that terms may supposit only for what they signify.
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Tarrow, Sidney. "Making Social Science Work Across Space and Time: A Critical Reflection on Robert Putnam's Making Democracy Work." American Political Science Review 90, no. 2 (June 1996): 389–97. http://dx.doi.org/10.2307/2082892.
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Political scientists are becoming more self-conscious about how they connect quantitative and qualitative data in social science and about the role of systematic country studies in comparative research. As the most striking example of both practices in recent years, Robert Putnam and his collaborators' Making Democracy Work deserves more serious criticism than it has received. While Putnam's original project aimed at a precise goal—studying how a new administrative reform is institutionalized—his ultimate project aimed at nothing less than examining how differently democracy works in different sociopolitical contexts, operationalized cross-sectionally in southern and northern Italy. The sources of these differences he found in the two regions' histories, which led him to employ the quantitative interregional data he had collected for one purpose to support a model of historical development of North and South. This historical reconstruction rests largely on qualitative data; but it also rests on a set of comparative inferences about individual values and community cohesiveness in the two regions that is of questionable historical validity and innocent of structural grounding. This article applauds Putnam's joining qualitative and quantitative data but attacks his reconstruction of Italian history to fit his model of social capital.
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Jenkins, E. R. "English South African children’s literature and the environment." Literator 25, no. 3 (July 31, 2004): 107–24. http://dx.doi.org/10.4102/lit.v25i3.266.
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Historical studies of nature conservation and literary criticism of fiction concerned with the natural environment provide some pointers for the study of South African children’s literature in English. This kind of literature, in turn, has a contribution to make to studies of South African social history and literature. There are English-language stories, poems and picture books for children which reflect human interaction with nature in South Africa since early in the nineteenth century: from hunting, through domestication of the wilds, the development of scientific agriculture, and the changing roles of nature reserves, to modern ecological concern for the entire environment. Until late in the twentieth century the literature usually endorsed the assumption held by whites that they had exclusive ownership of the land and wildlife. In recent years English-language children’s writers and translators of indigenous folktales for children have begun to explore traditional beliefs about and practices in conservation.
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Manuwald, Gesine. "Nero and Octavia in Baroque Opera: Their Fate in Monteverdi's Poppea and Keiser's Octavia." Ramus 34, no. 2 (2005): 152–66. http://dx.doi.org/10.1017/s0048671x00000990.
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The imperial history playOctavia, transmitted among the corpus of Senecan drama, has suffered from uncertainty about its date, author, literary genre and intended audience as regards its appreciation in modern criticism. Although the majority of scholars will agree nowadays that the play was not written by Seneca himself, there is still a certain degree of disagreement about its literary genre and date. Anyway, such scholarly quibbles seem not to have affected poets and composers in the early modern era: they recognised the high dramatic potential of the story of Nero and his love relationships in 62 CE along with the involvement of the historical character and writer Seneca.Indeed, this phase in imperial history was apparently quite popular in Italian and German opera of the late 17th and early 18th centuries. The earliest of a number of operatic treatments of the emperor Nero (also the first opera presenting a historical topic) and arguably the best known today is an Italian version:L'incoronazione di Poppea (The Coronation of Poppaea)to a libretto by Giovanni Francesco Busenello (1598-1659) and music attributed to Claudio Monteverdi (1567-1643), first produced in Giovanni Grimani's ‘Teatro di SS Giovanni e Paolo’ in Venice during the carnival season of 1643. Among the latest operas on this subject is a German version, which is hardly known and rarely performed today:Die Römische Unruhe. Oder: Die Edelmütige Octavia. Musicalisches Schau-Spiel (The Roman Unrest. Or: The Magnanimous Octavia. Musical Play)by the librettist Barthold Feind (1678-1721) and the composer Reinhard Keiser (1674-1739), first performed in the ‘Oper am Gänsemarkt’ in Hamburg on 5 August 1705. In this period German opera was generally influenced by Italian opera, but at the same time there were attempts, particularly in Hamburg, to establish a typically German opera.
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Jelínková, Ema. "Trauma Narratives of Scottish Childhood in Janice Galloway’s Short Stories." American & British Studies Annual 15 (December 21, 2022): 64–73. http://dx.doi.org/10.46585/absa.2022.15.2430.
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Janice Galloway represents one of the most strikingly original voices in new Scottish fiction, which breaks with the tradition of conventional narratives looking back at the national history and looking up to larger-than-life male heroes. Instead, Galloway writes deftly crafted short stories of everyday life in contemporary settings, finding that the past informs the present and proceeding to explore how the stateless nation’s cultural heritage affects her characters. This paper analyses selected stories from Galloway’s collections Blood (1991) and Where You Find It (1996) from the perspective of trauma criticism, which seems a particularly fitting approach to the author’s often disturbing narratives of violence and abuse. The focus is on child characters and on the ways that historical trauma, as introduced by Sigmund Freud and further refined by Cathy Caruth, is passed down to them. Finally, the paper provides examples from the individual short stories which illustrate how the traumatic experience can be acknowledged, witnessed, and ultimately communicated.
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Selim, Samah. "Toward a New Literary History." International Journal of Middle East Studies 43, no. 4 (November 2011): 734–36. http://dx.doi.org/10.1017/s0020743811000973.
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The past twenty years witnessed a dramatic transformation in Arabic literature studies in the United States. In the early 1990s, the field was still almost exclusively a satellite of area studies and largely bound by Orientalist historical and epistemological paradigms. Graduate students—even those wishing to focus entirely on modern literature—were trained to competence in the entire span of the Arabic literary tradition starting with pre-Islamic times, and secondary research languages were still rooted in the philological tradition of classical scholarship. The standard requirement was German, with Spanish as a distant second for those interested in Andalusia, but rarely French, say, or Italian or Russian. Other Middle Eastern languages were mainly conceived as primary-text languages rather than research languages. Philology, traditional literary history, and New Criticism formed the methodological boundaries of research. “Theory”—even when it purported to speak of the world outside Europe—was something that was generated by departments of English and comparative literature on the other side of campus, and crossings were rare and complicated in both the disciplinary and the institutional sense. Of course, one branch of “theory”—postcolonial studies—made its way into area studies much faster than the more eclectic offshoots of continental philosophy, for obvious reasons. From nationalism studies to subaltern studies, from Benedict Anderson to Gayatri Spivak, the wave of postcolonial critical theory that swept through U.S. academia in the 1980s and 1990s sparked an uprising in area studies at large and particularly in the literature disciplines. One of the first casualties of this uprising was the old historical paradigm itself: narratives of rise and fall, golden ages, and ages of decadence. Slowly but surely, scholars began to question the entire epistemological edifice through which Arabic literary history had been constructed by Orientalism. It was through the postcolonial theory of the 1980s that Arabic literature came to a broader rapprochement with poststructuralism: Foucault, Derrida, Ricoeur, Jameson, and White, to name a few of the major thinkers who began to transform the field in the late 1990s.
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Mbewe, Ian. "Application of Political Satire in Mission to Kala and Devil on The Cross." Journal of Law and Social Sciences 5, no. 1 (August 15, 2022): 69–83. http://dx.doi.org/10.53974/unza.jlss.5.1.793.
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The study attempted to demonstrate how political satire is applied in a pre-independence African fiction Mission to Kala and a post- independence African fiction Devil on the Cross. Satire, mild or bitter, has a history of being used to expose the negative socio-economic and political realities perpetrated by both the sympathisers of colonialism and later the agents of neo-colonialism in the post-independence phase. The study employed the Marxist literary theory and Literary Onomastics through stylistic analysis and demonstrated how satire exposed the evils and how a ‘training camp’ in the colonial era was transformed into a ‘jungle’ in post-independent Africa. Character types in both periods exhibited parasitic traits such as greed, selfishness, narrow appetites and sadistic violence leading to exploitation and oppression. This historical transition was delineated on the basis of the colonised African elite and subordinates as the direct off-shoot of the African bourgeoisie groups, which created a symbolic connection between the two periods of time in the African context. The findings indicated that both texts maintained the Marxist outlook, employed ironic juxtaposition to satirise capitalism, each satirist employed a different style and Beti had the colonised African elite and subordinates as his targets of satire as opposed to Ngugi’s comprador politicians, comprador and national bourgeoisie. The masses were not spared of criticism.
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Sozina, Elena K. "Epoch / Period vs Generation in the Literary and Critical Consciousness of the 19th Century." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 3 (2022): 9–25. http://dx.doi.org/10.15826/izv2.2022.24.3.041.
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This article analyses the functioning of the concepts of “epoch”, “period”, and “generation” in nineteenth-century literature, criticism, and literature studies. The concept of “epoch” presupposes a linear stage understanding and interpretation of history, and “period” can also be used within other concepts of historical development. The “epoch”, sometimes replaced by the “century”, and the “period” were traditionally used as measurement units of literature and culture history (cf. works of A. Bestuzhev, I. Kireevsky, V. Belinsky, etc.). One of the first periodisations of the history of Russian literature which employed these concepts was given by I. M. Born. The concept of “generation” in its meaning contains a biological, natural connotation, and therefore is not necessarily associated with the linear stage understanding of historical time. As S. N. Zenkin puts it, “a generation is time embodied in people, in their dramatic destiny”. The concept of “generation” is often used in periods of historical time which require a person to comprehend themselves and their place in history. A good example is Romanticism in the first decades of the nineteenth century. Another factor that actualises generational problems is the influence of biological and naturalistic ideas when a community motif of people doomed to be born and live with this influence “in their blood” emerges in this quite unfavorable time. This situation is considered by the author of this paper regarding the functioning of the “generation” concept in A. P. Chekhov’s works, who actively marked himself as belonging to the eighties’ “artel” (generation) in the 1880s. This concept as a subject of his characters’ argument subsequently recurs in Chekhov’s works of fiction. All the concepts mentioned are also analysed in the History of the Russian Literature of the 19th Century (1908–1911, ed. D. N. Ovsyaniko-Kulikovsky), which summed up the achievements of the nineteenth-century cultural and historical school. The author emphasises how this book (History...) develops a method of working with these concepts, and this method later comes in demand with the twentieth-century humanities.
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Shapoval, Mariana. "The intellectual's artistic biography in S. Rosovetskyi's dramatic." Synopsis: Text Context Media 26, no. 1 (2020): 1–10. http://dx.doi.org/10.28925/2311-259x.2020.1.1.
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The global trend of digitalization and publishing of historical sources, in particular fiction and its existence in different eras, makes the reader constantly reconsider the lives and work of persons who are regarded as prototypes of characters in literary works. As a result, an artistic image, linked to real life and rooted in the past, generates a consistent literary story in the form of artistic biography. The number and variety of such literary works, including dramatic ones, is constantly growing, which determines the topicality of this study. Over the recent decades, biographical fiction drastically changed its forms, and was enriched with numerous genre varieties and modifications. And this process remains far from complete. The term ‘meta-genre of artistic biography’ is introduced to designate it. This term emphasizes the scale of a certain phenomenon and allows defining the subject of the study — the artistic biographical description of the intellectual in contemporary Ukrainian drama — as well as clarify the understanding of the concept of the ‘intellectual,’ and problematize ways of describing characters of this type. The purpose of the article is to identify the genre-style unity of Ukraine’s modern drama about intellectuals and prove the expediency of the application to it of interpretive approaches to popular knowledge from related areas (history, philosophy, art). Specifically, such varieties of genres as personal artistic biography and intellectual artistic biography were singled out and proposed for the first time on the literary material (S. Rosovetskyi), and that is the research novelty. The research methodology is defined by an interdisciplinary approach that appeals to the achievements of literary criticism, art criticism, history, and philosophy. Results of the Study are connected with considerations that the interest in the artistic biography of the intellectual is associated with a general trend to anthropologize scientific knowledge, coupled with the growing interest of the audience in the individual and personal in the history and in the present, with the dominance of the emotional component in contemporary media discourses, resulting in the actualization of an emotional narrative of the intellectual’s biography, which often sounds tragic nowadays in the context of the catastrophic past of the Ukrainian science and culture.
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Volpera, Federica. "Per la fortuna critica di Ludovico Brea: una monografia inedita di Piero De Minerbi (1911-1912)." Storia della critica d'arte: annuario della S.I.S.C.A. 1 (2020): 271–309. http://dx.doi.org/10.48294/s2020.015.
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The archive of the Pinacoteca Civica in Savona preserved an unpublished typescript about the painter Ludovico Brea (Nice, 1450 c.-1516/1525): this work was written between 1911 and 1912 by the art historian Piero Hierschel De Minerbi, who belonged to a noble family from Trieste. The study of the text, illustrated by seventy-seven black and white photos, and four tables featuring sketches by the author, enables not only to add a new element to the critical history of Ludovico Brea but also to reflect on the state of the history of art criticism in Italy at the beginning of the Twentieth century. Particularly research tools used by the scholar belong to Historical and Philological method of the connoiseurship as was formulated by Adolfo Venturi (1856-1941) and Pietro Toesca (1877-1962): beyond the choice of a specific genre as the artist’s monograph, and of a research topic focused on an artist who belonged to a peripheral area of Fifteenth- and Sixteenth-century Italian Art, De Minerbi’s method is characterized by the enhancement of the link between history and criticism, a deep attention to the formal and technical aspects of the paintings in order to identify Brea’s style and to reconstruct his catalogue, distinguishing his hands from those of his followers, and the use of research instruments as archival documents, photography and ink sketches of compositional and iconographic details. Finally, some unpublished letters written by Piero De Minerbi and the director of the Pinacoteca Civica in Savona, Poggio Poggi, between 1938 and 1940, enable to reconstruct the history of this typescripts and the reason of its presence in the archive of the museum.
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Dal Lago, Enrico. "“States of Rebellion”: Civil War, Rural Unrest, and the Agrarian Question in the American South and the Italian Mezzogiorno, 1861–1865." Comparative Studies in Society and History 47, no. 2 (April 2005): 403–32. http://dx.doi.org/10.1017/s0010417505000186.
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To date, only a handful of scholars, most notably C.L.R. James and Eugene Genovese, have seen slave rebellions and peasant revolts as having anything in common. Fewer scholars still would be prepared to accept the assumption that slaves and peasants were agrarian working classes that shared significant characteristics. Yet, the issues of rural unrest and class formation continue to haunt the historiography of both slave and peasant societies long after James' and Genovese's studies, and have forced several historians to revise and broaden their definitions of class conflict as a means to describe the social transformations of several rural regions. In this essay, I focus on the American South as a case study of a slave society and on the Italian South, or Mezzogiorno, as a case study of a peasant society. Notwithstanding the fundamental differences between the social structures of these two regions, in both cases debates on the class character of rural workers began when leftist historians raised the possibility of applying Marxist categories to their particular historical conditions. In both cases, they were dealing with a ‘south’ characterized by a preeminently agricultural economy and a persistent social and political conservatism. In both cases, too, the debate has moved from broad theoretical positions to the explanation of specific instances of class conflict in a rural setting—the slaves' resistance to their masters and the peasants' resistance to their landlords, respectively—and then on to a criticism of the Marxist approach to the problem.
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Grigorieva, Olga, and Ni Jingsheng. "Gastronomic Italianisms in Modern Russian Language (Synchronic and Diachronic Aspects)." Philology & Human, no. 1 (February 27, 2022): 114–27. http://dx.doi.org/10.14258/filichel(2022)1-09.
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The article examines the gastronomic vocabulary of Italian origin in the modern Russian language, clears out the linguistic, social and psychological factors that determined its introduction in different historical periods. Three lexical-semantic groups are distinguished basing on definition dictionaries and cookery-books: the names of food-stuffs, drinks and dishes, the etymology of the lexical units included in them is considered, the history of their origin is given, and a cultural commentary is provided in order to clarify the meaning of these words. Gastronomic Italianisms derived from proper names are of great interest. Special attention is paid to the words pasta and pizza. As the study shows, gastronomic Italianisms are actively used in the language of Russian fiction and modern advertising. The study of the functions performed by these words in texts of different stylistic slant allows us to better understand the mechanism of adaptation of such words in the modern Russian language.
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Pažėraitė, Aušra Kristina. "ISTORINIS NIHILIZMAS IR MOKSLINĖ FANTASTIKA: KAI KURIŲ NAUJAUSIŲ PANSLAVIŠKŲ RELIGINIŲ JUDĖJIMŲ RUSIJOJE IR SARMATIZMO JUDĖJIMO LIETUVOJE ATVEJAI*." Religija ir kultūra 7, no. 1-2 (January 1, 2010): 55–82. http://dx.doi.org/10.15388/relig.2010.1.2764.
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Studijoje analizuojami kai kurie alternatyvūs šių dienų religinių / nacionalinių / rasinių tapatybių konstravimo atvejai, bandant atskleisti šiuolaikinės alternatyvios religinės / tautinės / rasinės tapatybės konstravimo mechanizmą. Nustatyta, kad šis mechanizmas veikia per dvi ašis – 1) istorinį nihilizmą (kuris tyrime apibrėžiamas kaip nepasitikėjimas profesionalių istorikų konstruojama istorijos vizija, jos atmetimas) ir 2) fantastiką (pasireiškiančią kaip individuali ar kolektyvinė naujų mitų kūryba), kūrimą fantastinių istorijos vizijų, kurios pateikiamos kaip tikroji istorija, buvusi užmiršta, iškraipyta ir tebeiškraipoma. Konkrečiai buvo analizuojamas vis didesnį populiarumą tiek Rusijoje, tiek už jos ribų, taip pat ir Lietuvoje įgaunantis rodnoverų mokymas ir jo pagrindu kuriamas Sergejaus Strižako „publicistinis“ filmas „Dievų žaidimai“, analizei pasitelkti pagrindinių jų autoritetų – Aleksejaus Trechlebovo ir Aleksandro Chinevičiaus – tekstai ir videomokymai. Kitas analizuotas pavyzdys – žymaus Rusijos matematiko topologo Anatolijaus Fomenko istorinės fantastikos eksperimentai. Studijoje aptariamas ir vieno pagrindinių rodnoverų šaltinių – Veleso knygos – klastojimo klausimas. Siekta atrasti galimas šių rusiškų judėjimų įtakos zonas ir Lietuvoje, taip pat analogiškus bandymus perkonstruoti lietuviškąją tapatybę. Čia, be kol kas pavienių žavėjimosi Trechlebovo ir Chinevičiaus mokymais atvejų, Rusijoje kilusio judėjimo KOB (Концепция Общественной Безопасности) filialo, kuriame pastebima rodnoverų mokymų pėdsakų, analizuotas naujausias (siekiantis keletą metų, bet per pastaruosius porą metų dėl Aivaro Lileikos veiklos įgijęs pagreitį) judėjimas, pasivadinęs Sarmatija. Analizuojant šį judėjimą paaiškėjo esminis skirtumas tarp rodnoverų ir „sarmatų“: pastarieji, nors ir nemažai fantazuoja, ne atmeta istorijos mokslą, bet kritikuoja ir kelia nepasitenkinimą profesionalių istorikų darbais (arba abejingumu), reikalaudami imtis rimtų jų nurodomų šaltinių tyrinėjimų, kad būtų sugrąžinta istorinė atmintis ir lietuviškoji tapatybė, kuri, anot šio judėjimo atstovų, yra sąmoningai menkinama ir klastojama dabartinių „oficiozinių“ lietuvių tautinės tapatybės „ekspertų“.Pagrindiniai žodžiai: rodnoverai, sarmatai, neo-pagonybė, mokslinė fantastika, istorinis nihilizmas.HISTORICAL NIHILISM AND SCIENCE FICTION: CASES OF SOME NEW PANSLAVIC RELIGIOUS MOVEMENTS AND LITHUANIAM MOVEMENT OF SARMATISMAušra Kristina Pažėraitė SummaryIn this study, some alternative new religious / national / racial identity construction cases have been analyzed in order to reveal the mechanism of contemporary alternative religious / ethnic / racial identity construction. It was found that this mechanism works in two axes – 1) historical nihilism (which in this study is defined as rejection of professional history, scientifically constructed vision of national / religious history), and 2) fiction, which manifests itself as an individual or a collective creation of new myths, historical fictions, which are presented as the true history which has been forgotten and distorted by various enemies (Christians, Jews, Europeans, and so on). In the study has been presented an analysis of the movement of growing popularity both in Russia and beyond, including Lithuania, of Rodnovers (slavic-arian neopagans) and created on the basis of teachings of leading authorities of this movement – A. Trehlebov andA. Hinevitch, – “publicistic” movie of Sergei Strizhak “Games of the Gods”. Another example was the famous Russian mathematician topologist Fomenko and his new method of chronology, resulting in other historical fiction. In the study was also discussed question of the fake of one of the main sources of Rodnovers – Book of Veles. In this study, the areas of the influence of this Russian movement in Lithuania and similar efforts toward the new constructions of Lithuanian identity have also been found. Here are single cases of admiration of teachings of Trehlebov and Hinevitch, Lithuanian branch of another Russian movement, CNS (Conception of National Security), in which there are some traces of teachings of Rodnovers, and the most important – the most recent movement of Sarmatia. Analysis of this movement shows a fundamental difference between Rodnovers and “Sarmatians”, that the latter, although utilize many fantasies, but is not dismissing the science of history as such, but causes discontent and criticism of professional historians (or their indifference), requesting them to take seriously the sources they designate to in order to restore the historical memory and Lithuanian identity, which, according to representatives of this movement are deliberately discouraging and falsifying this identity by existing official “experts” of Lithuanian national identity.Keywords: Rodnovers, Sarmatians, neo-pagans, science fiction, historical nihilism.
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Fuehrer, Bernhard. "The Columbia History of Chinese Literature. Edited by Victor Mair. [New York: Columbia University Press, 2001. 1,342+xxiv pp. $75.00; £52.50. ISBN 0-231-10984-9.]." China Quarterly 178 (June 2004): 535–36. http://dx.doi.org/10.1017/s0305741004390296.
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Following his Columbia Anthology of Traditional Chinese Literature (1994) and the Shorter Columbia Anthology of Traditional Chinese Literature (2000), the Columbia History of Chinese Literature intends to complement these two widely used readers. Edited by Victor H. Mair, the 55 chapters of this single-volume history of Chinese literature are chronologically arranged with thematic chapters interspersed. Indeed, a closer look at the chapters reveals that the book at hand follows the traditional dictum of wen shi zhe bu fenjia, i.e. that literature, history and philosophy should not be separated but regarded as one field of studies. Hence the scope of this history goes far beyond the scope of what is traditionally subsumed under the heading of literature. In addition to the topics (all genres and periods of poetry, prose, fiction, and drama) that one expects in a book of this sort, wit and humour, proverbs and rhetoric, historical and philosophical writings, classical exegesis, literary theory and criticism, traditional fiction commentary, as well as popular culture, the impact of religion upon literature, the role of women, and the relationship with non-Chinese languages and peoples (ethnic minorities, Korea, Japan, Vietnam) feature as topics of individual chapters.Most of the chapters are written by leading specialists in those areas and are highly informative as well as concisely presented. Moreover, a number of chapters are thought-provoking enough to inspire questions that may lead towards a more focused research on hitherto neglected or less well-documented topics. In this sense, The Columbia History of Chinese Literature may also be perceived as a potential major impetus for further developments in the study of pre-modern and modern Chinese literature and related fields. Since the volume aims at bringing the riches of China's literary tradition into focus for a general readership, the majority of chapters can probably be best described as outlines of specific developments that should encourage readers to consult more specialized publications.
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Khramov, Alexander. "Did God create fossils? Notes on the history of an idea." St. Tikhons' University Review 104 (December 29, 2022): 29–45. http://dx.doi.org/10.15382/sturi2022104.29-45.
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The subject of the paper is prochronism, e.g. the teaching which says that the world was created with the appearance of old age. It is shown that the sources of prochronism could be traced to the medieval doctrine of double truth and philosophy of Descartes, who suggested that cosmological theories on the origin of the Universe are purely conditional, while in fact the world was instantly created complete and mature. The idea of apparent, but non-existent past gained much credence during the first half of the 19th century, when paleontological and geological discoveries raised a question on how to square the age of the Earth and the life on it with the six days of Genesis. The hypothesis of prochronism was most fully developed in «Omphalos: an attempt to untie the geological knot» (1857), the book by the English naturalist P. Gosse. During the Darwinian time the interest in this doctrine was shown not only by Christian thinkers, but also by secular philosophers and science fiction writers. Elements of prochronism were also present in the writings of Scriptural geologists in the 19th century and their successors, the young earth creationists in the 20th century. The main objections against prochronism are critically considered. According to the most popular of them, if God had made the world appear older that it is, He thus would have deceived people. But from the point of view of prochronism, the creation of traces of never existed past was necessitated by the logic of causality, which required God to actualize all the consequences of historical epochs skipped by Him. The link between prochronism and the problem of pre-human sufferings is outlined. The conclusion is made that this doctrine, despite being counter-intuitive and rather notorious, is intellectually consistent and immune to the criticism.
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Ziemann, Zofia. "Translator Profile in the Discourse around Translation: Promotion and Reception of the English Translations of the Fiction of Bruno Schulz." HERMES - Journal of Language and Communication in Business, no. 58 (December 22, 2018): 139–56. http://dx.doi.org/10.7146/hjlcb.v0i58.111682.
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The paper discusses the role of (perceived) translator profile in the current promotion and reception of three competing English translations of fiction by the modernist Polish-Jewish author Bruno Schulz (1892–1942): Celina Wieniewska’s 1963/1978 canonical version, John Curran Davis’s ca. 2005–2010 online fan retranslation, and Madeline Levine’s retranslation, publicized since 2012 and forthcoming in 2018. Based on a para- and extratextual analysis of the discourse around these versions, combined with archive research into translator history, it explores the ways in which the translator’s profile is used to promote the translation and develop or support opinions about it. Wieniewska’s personal background, difficult to access due to the invisibility of the ‘historical’ translator, has been ignored by readers and critics, even though it would help understand her choice of translation strategy and thus make the recent criticism of her translation more informed. Conversely, in the case of Davis and Levine, not only are the retranslators visible to the extent that they actively promote their work themselves, but also judgments are passed, boundaries drawn and distinctions made based on their profiles rather than their performance: their work has been assessed to a large extent without reference to their actual translation choices. The retranslators’ lives – educational background, affiliation, professional experience – all turn out to play a major role in the critical discourse around their work, replacing the reading or, in the extreme case of Levine’s yet unpublished translation, even the very existence of the translated text.
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Wang, Yuanfei. "Java in Discord." positions: asia critique 27, no. 4 (November 1, 2019): 623–52. http://dx.doi.org/10.1215/10679847-7726916.
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In the late sixteenth century, thriving private maritime trade brought forth maritime trouble to the late Ming state. In times of rampant “Japanese” piracy and Hideyoshi’s invasion of Korea, Chinese literati composed unofficial histories and vernacular fiction on China’s foreign relations. Among them, Yan Congjian 嚴從簡 wrote Shuyu zhouzi lu 殊域周咨錄 (Records of Surrounding Strange Realms) (1574), He Qiaoyuan 何喬遠 compiled Wang Xiangji 王享記 (Records of the Emperors’ Tributes) (1597–1620), Luo Yuejiong 羅曰褧 penned Xianbin lu 咸賓錄 (Records of Tributary Guests) (1597), and Luo Maodeng 羅懋登 composed a vernacular novel Sanbao taijian xiyangji tongsu yanyi 三寶太監西洋記通俗演義 (Vernacular Romance of Eunuch Sanbao’s Voyages on the Indian Ocean) (1598). This article examines how the imminent maritime realities reminded the late Ming authors of one cross-border war and two genocides in Java and Sanfoqi during Yuan and early and mid-Ming times. These transgressions that violated Chinese official tributary order became memorable and made Sino-Java relations a definite point of comparison for the late Ming maritime piracy problems. This article argues that the cultural memory of Sino-Java military and diplomatic exchange enabled the authors to lament and condemn the executed pirates Wang Zhi and Chen Zuyi. The four authors imbue their narratives with personal anxieties and nationalistic sentiments. While the historical narratives tend to moralize and idealize China’s tributary world order, the vernacular fiction paints a more realistic picture of the late Ming state by involving heterogeneous voices of the “other.” Collectively, the four narratives represent various images of the Ming Empire, revealing the authors’ deep apprehension of the Mings’ identity, their political criticism of the state, and their divergent and even self-conflicted views toward maritime commerce, immigrants, and people of different races.
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Блашків, О. В. "INTELLECTUALS IN THE FACE OF HISTORIC TURMOIL: “THE REVENGE OF THE PRINTER” BY STANISLAV ROSOVETSKYJ AS ACADEMIC FICTION." Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 3, no. 93 (December 20, 2019): 3–15. http://dx.doi.org/10.34142/2312-1076.2019.3.93.01.
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Since mid-twentieth century the academic novel has been treated in English literary criticism as a separate literary genre centered on the life of professors. Often the action takes place on and outside of campus, revealing the professors’ private concerns. Satire is a characteristic feature of academic novels, which usually drives the action. In these novels university appears as a “microcosm of society at large.” Even though the academic novel is an emerging genre in Ukrainian literature, there are texts which fall into this category. In the article the author analyzes “The Revenge of the Printer” by Stanislav Rosovetskyj as academic fiction. The novel has two plot lines, one of which is set in late 1580s in the times of Ivan Fedorov, another is set in the summer of 1991. The plot lines are joined by the setting, which is St. Onuphrius Monastery in Lviv, which in the twentieth century was turned into the museum of book-printing. The novel has the following features of the academic fiction: the main setting and the object of satire is theIvanFedorovMuseum, a cloistered institution like the university campus; the protagonist Shalva Bukviani is an academic and a professor of history facing the choice to leave the institution or to conform to the changing ideology. Collectively, these characteristics allow to define the main theme as the role of individual in the times of historical turmoil. Special attention is paid to the image of Fedorov, whose life in the novel is portrayed as a literary biography, based on research of contemporary Ukrainian historians alternative to the Soviet narrative. Due to the image of Fedorov as “Renaissance man” in the novel, the image of contemporary scholar appears as Sick Soul (M. Andryczyk), “a small Soviet man” unable to engage in protection of cultural heritage in the time of sociopolitical change.