Academic literature on the topic 'Julia May Criticism and interpretation'
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Journal articles on the topic "Julia May Criticism and interpretation"
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Волчков, Алексей. "In the Beginning Was the Text. The Derridean Concept of Textuality and Its Role in Biblical Research." Библия и христианская древность, no. 1(5) (February 15, 2020): 162–84. http://dx.doi.org/10.31802/2658-4476-2020-1-5-163-184.
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Статья посвящена анализу того, как постструктуралистские представления о «тексте» и «текстуальном» влияют на академическую библеистику и традиционную экзегезу. Автор на множестве примеров показывает, что критический настрой философии Деррида помогает читателю Писания, придерживающегося традиционных для религиозных общин (христианство, иудаизм) принципов толкования, отстоять своё право на подобную герменевтическую программу перед лицом библейской критики и вызовов академического рационализма. При исследовании этого влияния автор опирается на работы известных французских философов: Жака Деррида, Юлии Кристевой, Ролана Барта. The article is devoted to the analysis of how post-structural notions of «text» and «textuality» influence academic biblical studies and traditional exegesis. The author shows, through a variety of examples, that the critical approach of Derrida’s philosophy helps the reader of Scripture who adheres to the traditional principles of traditional interpretation to defend his right to such a hermeneutic program in the face of biblical criticism and the challenges of academic rationality. In studying this influence, the author draws on the works of famous French philosophers: Jacques Derrida, Julia Kristeva, Roland Bart.
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Волчков, Алексей. "In the Beginning Was the Text. The Derridean Concept of Textuality and Its Role in Biblical Research." Библия и христианская древность, no. 1(5) (February 15, 2020): 162–84. http://dx.doi.org/10.31802/2658-4476-2020-1-5-163-184.
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Статья посвящена анализу того, как постструктуралистские представления о «тексте» и «текстуальном» влияют на академическую библеистику и традиционную экзегезу. Автор на множестве примеров показывает, что критический настрой философии Деррида помогает читателю Писания, придерживающегося традиционных для религиозных общин (христианство, иудаизм) принципов толкования, отстоять своё право на подобную герменевтическую программу перед лицом библейской критики и вызовов академического рационализма. При исследовании этого влияния автор опирается на работы известных французских философов: Жака Деррида, Юлии Кристевой, Ролана Барта. The article is devoted to the analysis of how post-structural notions of «text» and «textuality» influence academic biblical studies and traditional exegesis. The author shows, through a variety of examples, that the critical approach of Derrida’s philosophy helps the reader of Scripture who adheres to the traditional principles of traditional interpretation to defend his right to such a hermeneutic program in the face of biblical criticism and the challenges of academic rationality. In studying this influence, the author draws on the works of famous French philosophers: Jacques Derrida, Julia Kristeva, Roland Bart.
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Tomin, Julius. "Dating of the Phaedrus and Interpretation of Plato." Antichthon 22 (1988): 26–41. http://dx.doi.org/10.1017/s0066477400003609.
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Two hundred years ago, at the very dawn of modern Platonic studies, W.G. Tennemann built his System of Platonic Philosophy around the assumption that the Phaedrus belongs to Plato’s later works. His name and his opus may have been forgotten, yet the shadow of his picture of Plato still hangs over current interpretations. For example, it was he who excised the historical Socrates from the dialogue and deprived of its Socratic character the discussion of the relative merits of the spoken and the written word. In the dialogue the spoken word is a proper vehicle for philosophy, for moral and intellectual growth and elevation, and the written word is its pale derivative with nothing truly positive to offer; stripped of its Socratic ‘veneer’, this view of the relative merits of language and writing had to be reinterpreted. Tennemann understands the criticism of the written word as an indication that Plato must already have published dialogues which had encountered a negative response: an important point for him, since he was the first to dismiss the ancient tradition that viewed the dialogue as Plato’s first. In the second half of the twentieth century G.E.L. Owen similarly deduces from it the dating of the dialogue, but he takes the disparagement of the written word as Plato’s self-criticism.
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Thörner, Katja. "Two Arguments Against Some Critics of Religion Based on Feeling and Emotion Following William James." European Journal for Philosophy of Religion 6, no. 3 (September 23, 2014): 207–24. http://dx.doi.org/10.24204/ejpr.v6i3.171.
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In this paper I will show that you can distinguish two main types of argumentation in respect to feeling and emotions in the philosophy of religion of William James, which point to two different kind of criticism of religion. Especially in his early works, James argues that you may lawfully adopt religious beliefs on the basis of passional grounds. This argumentation points to a type of criticism of religion, which denies that beliefs based on such emotional grounds may be justified. In his famous study The Varieties of Religious Experience, James defines religious experience as an experience of inner conversion, where the individual gets in touch with a higher self. The philosophical interpretation of religious experience points not at least to a type of criticism of religion in the tradition of Ludwig Feuerbach, which is known as the theory of projection.
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Poljakova, Ekaterina. "Die Macht der Interpretation." Deutsche Zeitschrift für Philosophie 67, no. 4 (November 5, 2019): 539–71. http://dx.doi.org/10.1515/dzph-2019-0043.
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Abstract The article treats the problem of interpretation in its respect to reality by example of Umberto Eco’s moderate ‚realistic‘ position and his criticism of Friedrich Nietzsche, the “father” of postmodernism. Here the strongest arguments on both sides are evaluated: Eco’s “negative realism” pointing out the impossibility of some interpretations and Nietzsche’s thinking out the absolute absence of a privileged position proceeding from which it would be possible to unequivocally identify what is real. The article argues that the crucial point why some interpretations may prove to be stronger or weaker is best described in terms of the concept of power. One however should avoid misconceptions, since power itself is interpretation which nevertheless allows for the gradation of reality, the mobility of its horizons, their shifting and even their potential availability. A much-disputed question of prehistoric times as well as that of death as a limit of interpretability is inter alia included in the analysis. Both classical anti-realistic positions, such as that of Wittgenstein, and the argumentation of contemporary advocates of realism, such as Quentin Meillassoux, are taken into consideration.
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Demin, I. V. "Ideology in the Era of “Cynical Reason” (Interpretation of Ideology in Slavoj Žižek’s Works)." Journal of Political Theory, Political Philosophy and Sociology of Politics Politeia 103, no. 4 (December 9, 2021): 6–23. http://dx.doi.org/10.30570/2078-5089-2021-103-4-6-23.
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The article is devoted to the critical analysis of the concept of ideology developed by Slavoj Žižek, the modern Slovenian philosopher. The author reveals the possibilities and limitations of Žižek’s approach to understanding the phenomenon of ideology and considers the initial presumptions and methodological assumptions that this approach is based upon. The article shows that despite the indisputable originality, Žižek’s theory is not devoid of contradictions, and the interpretation of ideology as an illusion and mystification, which is justified within the framework of Marxist political philosophy, loses its foundations in the context of the post-structuralist methodology. According to I.Demin’s conclusion, Žižek’s philosophical and political thinking falls prey to the scheme that Peter Sloterdijk defined as “mutual tracking of ideologies”. Criticism of ideology here implies criticism of one ideo logy from the standpoint of another, or criticism of “bad” ideology from the standpoint of “good” ideology. The “criticizing” ideology is not clearly articulated, but implicitly assumed. The fact that the “critic” of ideology prefers not to reveal his own bias constitutes an integral part of the strategy of ideological criticism, as opposed to scientific criticism. Ideology as the principle that structures social reality obtains an allencompassing character in Žižek’s interpretation, since it underlies all human actions and human thinking. However, if there is no way to separate ideology from scientific knowledge, to distinguish between ideology, philosophy and religion, it turns out that ideology is everything and nothing at the same time. With this interpretation, “ideology” becomes an unoperationalizable concept for Social and Political Sciences, and therefore useless. At the same time, a number of the provisions formulated by Žižek (on ideological “fastening”, on the role of the enemy figure in the ideological discourse, etc.) may be in high demand in the course of developing an adequate methodological strate gy for studying the phenomenon of ideology, which distances itself from both “naïve” objectivist doctrines and the extremes of the political anti-essentialism and anti-universalism.
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Ibatullina, Guzel M., and Maria M. Krivda. "ALEXEY TURBIN ‘S INITIATION PLOT IN THE WHITE GUARD NOVEL BY M.A. BULGAKOV." Sovremennye issledovaniya sotsialnykh problem 14, no. 2 (June 30, 2022): 222–37. http://dx.doi.org/10.12731/2077-1770-2022-14-2-222-237.
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Background. The problem of the functioning of archetypal plots and related images and motifs in the artistic structure of the novel The White Guard by Mikhail Bulgakov remains practically unexplored in literary criticism. This also applies to the episode of the meeting between Alexei Turbin and Julia Reiss, in which the logic of the initiation plot is revealed, implemented in the text through a system of folklore-fairytale and mythological references that require detailed analysis and interpretation.
Purpose. The purpose of the article is to study the figurative and semantic paradigm of the initiation plot in the history of the acquaintance of Alexey Turbin and Julia Reiss.
Materials and methods. The material of the study is the episodes presented in Chapters 10–13 of the novel. At the same time, the analyzed fragments are considered taking into account the artistic and semantic contexts of the work as a whole. In the process of research, mythopoetic, structural-comparative, systemic-functional methods of text analysis were used.
Results. The results of the study showed that in the analyzed fragments of the novel detected parallels with the system of fairy tale motifs associated with the archetype of initiation. In the narrative logic of the episode, the main stages of this plot are highlighted: departure // isolation of the hero; trials and temptations; symbolic death; resurrection and transformation. A similar parallelism is revealed in the structure of the chronotope: Turbin, like fairy-tale end mythological heroes, undergoes initiation in a symbolic other world, where he moves from the real-empirical space. Pivotal to the logic of the development of events is the fabulous motive of flight with a number of transformations of the hero and his “miraculous” escape from persecution with the help of Julia Reiss. Turbin repeatedly experiences “meetings with death” as the culminating stages of initiation, in the finale of the plot collision there is a revival and the return of the hero to the real world.
Practical implications. The results of the study can be used in the courses of studying Russian literature at the university and school.
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Baker, Peter. "The Prodigal Returns? Karl Barth’s Christological Interpretation of Luke 15:11–32." Journal of Theological Interpretation 16, no. 1 (June 1, 2022): 57–73. http://dx.doi.org/10.5325/jtheointe.16.1.0057.
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At the heart of his doctrine of reconciliation, Karl Barth offers a unique but underexamined christological interpretation of the parable of the prodigal son. Displaying both respect for and resistance to the interpretative paradigm for Jesus’s parables established by Adolf Jülicher, Barth’s interpretation rejects allegorical interpretation and appeals to the narrative’s literary characteristics, but it hermeneutically privileges Barth’s perception of the overall theological import of the canonical Christian Scriptures over the parable’s immediate literary context. Barth’s approach may be fruitfully set in conversation with more recent developments in parable research, including redaction-criticism and the understanding of parables as metaphorical texts, yielding a revised polyvalent theological interpretation, which brings together soteriological and christological themes.
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Baker, Peter. "The Prodigal Returns? Karl Barth’s Christological Interpretation of Luke 15:11–32." Journal of Theological Interpretation 16, no. 1 (June 1, 2022): 57–73. http://dx.doi.org/10.5325/jtheointe.16.1.0057.
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At the heart of his doctrine of reconciliation, Karl Barth offers a unique but underexamined christological interpretation of the parable of the prodigal son. Displaying both respect for and resistance to the interpretative paradigm for Jesus’s parables established by Adolf Jülicher, Barth’s interpretation rejects allegorical interpretation and appeals to the narrative’s literary characteristics, but it hermeneutically privileges Barth’s perception of the overall theological import of the canonical Christian Scriptures over the parable’s immediate literary context. Barth’s approach may be fruitfully set in conversation with more recent developments in parable research, including redaction-criticism and the understanding of parables as metaphorical texts, yielding a revised polyvalent theological interpretation, which brings together soteriological and christological themes.
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Kotze, H. "Desire, gender, power, language: a psychoanalytic reading of Mary Shelley’s Frankenstein." Literator 21, no. 1 (April 26, 2000): 53–68. http://dx.doi.org/10.4102/lit.v21i1.440.
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Psychoanalytic literary criticism has always had a particular fascination with texts dealing with the supernatural, the mysterious and the monstrous. Unfortunately such criticism, valuable and provocative though the insights it has provided have been, has all too often treated the text as a “symptom” by which to explain or analyse an essentially extratextual factor, such as the author's psychological disposition. Many interpretations of Mary Shelley’s novel Frankenstein provide typical examples of this approach. Much psychoanalytic (and also feminist) criticism and interpretation of the novel have focused on the female psyche “behind” the text, showing how the psychoanalytic dynamics structuring Shelley’s own life have found precipitation in her novel. This article offers an alternative to this type of psychoanalytic reading by interpreting the novel in terms of a framework derived from Lacanian psychoanalysis, focusing on the text itself. This interpretation focuses primarily on the interrelated aspects of language, gender, desire and power as manifested in the novel, with the aim of highlighting some hitherto largely unexplored aspects of the text which may be useful in situating the text within the larger current discourse concerning issues of language and power.
Dissertations / Theses on the topic "Julia May Criticism and interpretation"
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Ehrensperger, Kathy. ""... That we may be mutually encouraged" : feminist interpretation of Paul and changing perspectives in Pauline studies." Thesis, University of Wales Trinity Saint David, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683181.
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Strazds, Robert. "Contemporary Russian Soviet women's fiction, 1939-1989." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60088.
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A number of critics have observed that there is no tradition of women's writing in Russian. The writings of Lydia Chukovskaya, I. Grekova and Tatiana Tolstaya--the principle subjects of the present work--partially contradict this perception, and defy the restrictions imposed by ideological authoritarianism and of gender.All three writers describe aspects of the Soviet, and human, condition, in unique ways. Lydia Chukovskaya's fiction portrays women, paralyzed by the scope of the Stalinist terror, who attempt to survive with dignity and accept their individual responsibility. I. Grekova writes about single women who maintain their autonomy through a balance between their professional and domestic lives. Tatiana Tolstaya's characters inhabit an atmosphere of lyrical alienation from which there is no exit.
This study examines in detail the work of these writers in the context of other Soviet men and women writers, as well as in the light of Western, feminist thought.
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Abbott, Janet Gail. "Synthesis of the Personal and the Political in the Works of May Stevens." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277656/.
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This thesis is an investigation of the way in which the painter May Stevens (b. 1924) synthesizes her personal experiences and political philosophy to form complex and enduring works of art. Primary data was accumulated through an extended interview with May Stevens and by examining her works on exhibit in New York and Boston. An analysis of selected works from her "Big Daddy" and "Ordinary/Extraordinary" series revealed how her personal feelings about her own family became entwined with larger political issues. As an important member of the feminist art movement that evolved during the 1970s, she celebrated this new kinship among women in paintings that also explored the contradictions in their lives. In more recent work she has explored complex social issues such as teenage prostitution, sexism, and child abuse in a variety of artistic styles and media. This study investigates how May Stevens continues to portray issues of international significance in works that consistently engage the viewer on a personal, almost visceral level.
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Laviolette, Carole. "The tyranny of coherence /." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26741.
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This thesis introduces a skeletal representation of the "kind" of individual Doris Lessing promotes in her work. Organized around five semantic qualifiers, this analysis explores a number of Lessing's works belonging to several literary categories for evidence of the appearance of the daring, self-aware, public, engaged, and vocal individual. It argues that Lessing, as a humanist, is committed to individual personal actualization but that this is tempered with her personnally held views about what is valuable and enriching human experience. It concludes that as author of fictional tales, autobiographical texts as well as political essays, she designs the path of self-development she considers worthy of mention.
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Perry, Nicole. "Karl May's Winnetou : the image of the German Indian, the representation of North American First Nations from an Orientalist perspective." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99741.
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Karl May is considered Germany's most published author of popular literature. His influence on generations of German youth cannot be overlooked. Winnetou is one of his major works and depicts the adventures of Old Shatterhand, the German immigrant, and his Blood Brother, the Apache Winnetou. Generations of children grew up reading their adventures and escaping in their imaginations to battle unsavoury Yankees as well as hostile tribes.May's descriptions of the First Nations of North America have aided in skewing the perception of the North American First Nations in Germany. This thesis aims to work with some of these misperceptions and explain how they came to be. Through the use of Edward Said's theory, Orientalism, which will be applied to Winnetou I-III, this thesis attempts to interpret the role of the European and the non-European, or the Other, within the context of the story. The power structure between the European and the non-European will be one of the main focuses. May's use of the Bible as the perceived 'right' way of dealing with situations and people in comparison to the Apache or Yankee way is an obvious exertion of European thought and control over the non-European way of life.
Winnetou is situated in a unique role in the power struggle between the European and the non-European. He is often seen as having mentalities and beliefs that come across as more European than non-European, and therefore places him in a unique situation, that of a Noble Savage, not a 'red devil'. It is exactly this perception of North American First Nations, that has survived many generations and still lends credit to Winnetou being called an 'apple Indian', red on the outside, white on the inside.
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Christodoulides, Nephie J. "Out of the cradle endlessly rocking : Sylvia Plath as mother-creator in light of Julia Kristeva's theory of subject formation." Thesis, University of Stirling, 2001. http://hdl.handle.net/1893/3467.
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This introductory chapter aims to briefly address the theoretical approach used in my dissertation, situating Julia Kristeva in relation to Sylvia Plath's work, as well as to place my work among particular psychoanalytic studies of Plath. 'Initiation' further continues by briefly discussing the way primary and secondary data are utilized in the dissertation and developing the rationale behind juxtaposing biographical material (mostly journals and letters) and creative work, life and art. The chapter finishes by giving an overview of the dissertation organization. The purpose of this dissertation is to discuss the notion of motherhood in Sylvia Plath's work in light of Julia Kristeva's theory of subject formation. For Kristeva, as subjects, we are never the absolute masters of our own experiences, but split subjects divided between unconscious and conscious motivations, inhabiting both nature and culture. The subject is not only split, but is also a 'subject in process' ( sujet en proces); s/he is always on trial, tested in a way against his/her various contexts (Revolution in Poetic Language 22,58,233 ). Kristeva is concerned with discourses that call up a crisis in identity and for her the discourse of motherhood is such a discourse. Motherhood is also characterized by an instability as it takes place at the level of the organism, not the subject : 'It happens but I'm not there' ( 'Motherhood According to Giovanni Bellini' 237 ). The maternal body is a place of splitting; it is more of a filter than anything else - a thoroughfare where nature meets culture ( ibid. 238 ). Neither parturition nor the birth itself are final. They are, as it were, beginnings of something other than themselves - the onset of maternity for the woman, the beginning of life for the child (Robbins 138 ).
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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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Lynch, Éadaoín. "'This may be my war after all' : the non-combatant poetry of W.H. Auden, Louis MacNeice, Dylan Thomas, and Stevie Smith." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/16566.
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This research aims to illuminate how and why war challenges the limits of poetic representation, through an analysis of non-combatant poetry of the Second World War. It is motivated by the question: how can one portray, represent, or talk about war? Literature on war poetry tends to concentrate on the combatant poets of the First World War, or their influence, while literature on the Second World War tends to focus on prose as the only expression of literary war experience. With a historicist approach, this thesis advances our understanding of both the Second World War, and our inherited notions of 'war poetry,' by parsing its historiography, and investigating the role critical appraisals have played in marginalising this area of poetic response. This thesis examines four poets as case studies in this field of research-W.H. Auden, Louis MacNeice, Dylan Thomas, and Stevie Smith-and evaluates them on both their individual explorations of poetic tone, faith systems, linguistic innovations, subversive performativity, and their collective trajectory towards a commitment to represent the war in their poetry. The findings from this research illustrate how too many critical appraisals have minimised or misrepresented Second World War poetry, and how the poets responded with a self-reflexivity that bespoke a deeper concern with how war is remembered and represented. The significance of these findings is breaking down the notion of objective fact in poetic representations of war, which are ineluctably subjective texts. These findings also offer insight into the 'failure' of poetry to represent war as a necessary part of war representation and prompt a rethinking of who has the 'right' experience-or simply the right-to talk about war.
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Ridley, Sarah Elizabeth. ""That Every Christian May Be Suited": Isaac Watts's Hymns in the Writings of Early Mohegan Writers, Samson Occom and Joseph Johnson." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984204/.
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This thesis considers how Samson Occom and Joseph Johnson, Mohegan writers in Early America, used the hymns of English hymnodist, Isaac Watts. Each chapter traces how either Samson Occom or Joseph Johnson's adapted Isaac Watts's hymns for Native communities and how these texts are sites of affective sovereignty.
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Kelly, Robert Louis. "In search of Michelangelo's tomb for Julius II : reconstructing that for which no fixed rule may be given." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38494.
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In early 1505, at twenty-nine years of age, Michelangelo began work on a massive tomb for Pope Julius II. The formal, temporal, and constructional intertwinings of this project are plumbed to create the foundation of this text. Finding its only full manifestation in the narratives of Vasari and Condivi, this tomb was the site of Michelangelo's first engagement with the making of architecture. The execution of this project would go on to intermittently occupy nearly half of Michelangelo's lifetime, making it a pivotal and paradigmatic work in the understanding of his opera. Explored as an embodied architectural treatise, the tomb reveals Michelangelo's dynamic process of creative making. Problematic issues in the prevailing Twentieth Century analyses and reconstructions of the tomb are called into question and alternative approaches to establish a deeper understanding of the project are proposed. Conjectures on the relevance of history, the hegemony and limits of analysis, the physical manifestation of ideas, what it means to "finish" a project, and what constitutes a "work," are projected from the foundations of the tomb onto the making of architecture today.
Books on the topic "Julia May Criticism and interpretation"
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Torres, Alinaluz Santiago. El lenguaje poético en El mar y tú y otros poemas de Julia de Burgos: De la estadística a la estilística. San Juan, Puerto Rico: Isla Negra Editores, 2014.
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Julia Alvarez: Writing a new place on the map. Albuquerque: University of New Mexico Press, 2005.
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Rosador, Kurt Tetzeli von, and William Shakespeare. Romeo und Julia. Munich, Germany: dtv, 2005.
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Shakespeare, William. Romeo i Julia. Kraków: Zielona Sowa, 2005.
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Shakespeare, William. Romeo i Julia. Poznan: W. Drodze, 1992.
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Bouthors-Paillart, Catherine. Julia Kristeva. Paris: Association pour la diffusion de la pensée française, 2006.
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Julia Kristeva. Paris: AdpfCulturesfrance, 2006.
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Reading Julia Alvarez. Santa Barbara, Calif: Libraries Unlimited, 2011.
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Kelisiduowa: Julia Kristeva. Taibei Shi: Sheng zhi wen hua shi ye you xian gong si, 2002.
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Julia Kristeva. New York: Routledge, 2004.
Find full textBook chapters on the topic "Julia May Criticism and interpretation"
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Bryant, Marsha. "Sitwell beyond the Semiotic." In The Many Facades of Edith Sitwell. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813054421.003.0006.
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Reclaiming Edith Sitwell’s Façade as a central text of experimental modernism, this essay calls for cultural approaches that move her poetry beyond psycho-biographical interpretations. Ironically, Sitwell remained a marginal figure in women’s poetry during her feminist recovery in the 1990s. This wave of poststructuralist and psychoanalytic criticism often drew from Julia Kristeva to emphasize gender subversion. Pushing back against Sitwell’s outsider status, Bryant revisits the performance text of Façade in the contexts of race and empire. A complex interplay of parodic and imperialist meanings shapes Façade—a riotous text crucial in any account of modernism. Bryant also revisits the essay itself, considering Sitwell’s renewed status for a new generation of scholars.
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Gelbart, Matthew. "Genres in Interpretation." In Musical Genre and Romantic Ideology, 353—C7.N124. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190646929.003.0007.
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Abstract One way that Romantic genres connect to the present day is through the question of interpretation. This excursion into the traditions of hermeneutics and criticism considers the ways in which generic awareness may open up, but may also narrow, how people make and listen to music. The focus here is on reading intertextual allusions in the music of a particularly generically “reverent” composer, Brahms, whose music has, precisely because of his reverence, provoked difficult interpretive questions. Three different types of allusion work differently in relation to genre: topical allusion, formal allusion, and melodic allusion. Brahms often blurred these, but the last has been the focus of most modern work on Brahmsian allusions. Reinforcing the idea that genre is primarily determined as a field of intertextual references in the mind of an audience community, this chapter considers which allusions Brahms might have expected his target audiences to perceive in the pieces he wrote and named a certain way. It argues that except in the most intimate private genres, and especially in large public genres, claims of melodic allusions in Brahms are most convincing and interpretively fruitful when they tell publicly perceptible stories about genres themselves and their relationships. Generally such allusions reference pieces in closely related but not “identical” genres, and help position these familial genres in relation to each other.
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Aplin, Tanya, and Jennifer Davis. "4. Copyright III:Infringement, Exceptions, and Database Right." In Intellectual Property Law, 199–286. Oxford University Press, 2021. http://dx.doi.org/10.1093/he/9780198842873.003.0004.
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All books in this flagship series contain carefully selected substantial extracts from key cases, legislation, and academic debate, providing able students with a stand-alone resource. This chapter discusses the circumstances in which an owner’s economic rights may be infringed and the exceptions and limitations to copyright infringement, including fair dealing for research and private study, reporting current events, criticism or review, and quotation. The chapter explores recent cases relevant to these exceptions and how the UK’s departure from the EU may affect judicial interpretation and how technological protection measures interrelate with copyright exceptions. It also examines the sui generis database right.
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Welborn, Larry L. "Paul between Protagoras and Rancière: “On the basis of equality, … that there may be equality”." In Political Theology on Edge, 149–64. Fordham University Press, 2021. http://dx.doi.org/10.5422/fordham/9780823298112.003.0009.
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Larry Welborn offers a scholarly interpretation of Paul that figures this Apostle, who appears to authorize a certain paradigmatically violent form of Christianity, as a preacher of equality. Drawing on biblical criticism and contemporary philosophy, Welborn uses the French philosopher Jacques Rancière to help argue that Paul affirms an equality of persons amidst the inequality that pervaded the ancient Greek and Roman world. Our own world is becoming increasingly more and more unequal in material and economic terms, and we desperately need more equality, whether we are Christian or not. Welborn reads “Paul Between Protagoras and Rancière” and concludes that Paul may be a significant resource for us today. He argues that particularly in Corinthians Paul extends “the principle of equality” into the sphere of economic relations between Christ believers in a way that empowers the marginalized peoples who were rendered invisible in the Empire, giving them a voice.
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Martin, Adrian. "Standing Up Too Close or Back Too Far?" In The Oxford Handbook of Film Theory, 505—C25.N74. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190873929.013.16.
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Abstract Contemporary popular culture is awash with particular forms of interpretation, such as “drilling down” into subtexts, and the explication of mysterious narrative worlds in film and TV. Vulgarized approaches they may be, but they allow a path into the history of forms of film analysis performed by critics and scholars, forms defined, variously, as close or distant, deep or superficial, interpretive or descriptive. This essay traces the influence of New Criticism, structuralism and poststructuralism, digital data mining and other trends upon the various movements and schools of film analysis, and also considers the changing technology that aids and shapes its practice.
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Martin, Dale B. "Christ." In Biblical Truths. Yale University Press, 2017. http://dx.doi.org/10.12987/yale/9780300222838.003.0005.
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A view of the nature of Jesus Christ that rises to the level of full Christian orthodoxy, as expressed in such creeds and definitions as the Apostles’ Creed, and the statements of Nicea, and Chalcedon, cannot be responsibly derived from the New Testament if the constraints of modern historical criticism are obeyed. But robust and faithful views of the nature of Christ may be read from the New Testament, and even from the Old Testament, when the text is interpreted via lenses of creative, Christian interpretation, led by the holy spirit, and interpreted with the guidance of love. Moreover, though constructions of “the historical Jesus” may be used for theological reflection, the Jesus of Christian faith is the Christ of Christian creed and confessions, not the Jesus of modern historical research and construction.
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Desmond, Will. "Diogenes of Sinope." In Early Greek Ethics, 651–79. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198758679.003.0029.
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Diogenes of Sinope is the great exemplar whom later Cynics continually evoke. Yet despite the many vivid anecdotes told of him, he is historically a shadowy figure, and his ideas are difficult to pinpoint with absolute precision. In seeking to locate Diogenes somewhat precisely both in his own time and in the longer durée of Greek ethical thought, “Diogenes of Sinope” first surveys major themes of Cynicism that may be traced back to Diogenes himself: living according to nature, criticism of customs, shamelessness and parrhēsia, ascetic self-sufficiency, cosmopolitanism, and the pursuit of happiness through virtue. While there may be a general consensus on these topics, controversies remain, and perhaps must remain. In its second section, therefore, the chapter explores diverse, even opposite ways in which Diogenes has been construed and categorized. This series of antinomies again highlights the difficulties of precise interpretation, and suggests the deliberately elusive nature of Diogenes’ ethical thinking.
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Martin, Dale B. "Spirit." In Biblical Truths. Yale University Press, 2017. http://dx.doi.org/10.12987/yale/9780300222838.003.0006.
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When the subject is the Christian view of the holy spirit, it is even more difficult to find an orthodox doctrine of the spirit if the Bible is read only through the method of modern historical criticism. Read historically, the Bible does not teach a doctrine of the trinity, and the Greek word for “spirit,” pneuma, refers to many different things in the New Testament. Moreover, the pneuma was considered in the ancient world to be a material substance, though a rarified and thin form of matter. Yet those ancient notions of pneuma may help us reimagine the Christian holy spirit in new, though not at all unorthodox, ways. The spirit may then become the most corporeal person of the trinity; the most present person of the trinity; or alternatively, the most absent. The various ways the New Testament speaks of pneuma—that of the human person, or the church, of God, of Christ, and even of “this cosmos”—may provoke Christian imagination in new ways once the constraints of modernist methods of interpretation are transcended. Even the gender of the spirit becomes a provocative but fruitful meditation for postmodern Christians.
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Lowe, Gill. "The Malicious Gene: An Evolutionary Games Strategy? Woolf’s Hawkish Inheritance." In Virginia Woolf and Heritage. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781942954422.003.0037.
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‘There is no possibility of being witty withot a little ill-nature; the malice of a good thing is the barb that makes it stick,’ Lady Sneerwell in Sheridan’s The School for Scandal (1777). The malicious gene: nature or nurture? On 4th May 1928 Virginia Woolf reported in her diary that she had enjoyed Elizabeth Robins’ recollection of Julia Stephen: ‘she would suddenly say something so unexpected, from that Madonna face, one thought it vicious’ (Woolf, 1980, p.183). Leslie Stephen too was renowned for his intermittent acerbic criticism. Occasionally Woolf’s apparently calm demeanour was similarly disturbed by startling sharp verbal attacks. Woolf’s mordant written statements seem calculated and controlled, carefully constructed as in a performance, often aimed at individuals and groups for which she felt a specific animus. A word that recurs to describe Woolf is ‘malicious’. Contemporaries, critics and Woolf herself recognised her judgemental predisposition. Leonard Woolf observed that ‘a monolithic humour’ was shared with family members, ‘All male Stephens—and many of the females—whom I have known have had one marked characteristic which I always think Stephenesque....It consisted in a way of thinking and even more in a way of thinking and expressing their thoughts which one associates pre-eminently with Dr Johnson’ (Sowing, 1960, p. 184). Genes may be seen to affect the social behaviour of their bearers. Analysing some specific examples of Woolf’s caustic observations, this paper will adapt the metaphor of ‘the selfish gene’ to explore her tendency to maliciousness. It will consider whether this might have been inherited behaviour; learned from family attitudes; influenced by the writers she most appreciated and/or evolved as a species-preserving survival strategy, adopted in response to her cultural environment.
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Socher, Johannes. "Post-Soviet Russian Scholarship on Self-Determination." In Russia and the Right to Self-Determination in the Post-Soviet Space, 177–205. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192897176.003.0006.
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Chapter 5 covers the post-Soviet Russian scholarship on self-determination and shows how it forms a separate epistemic community, with peculiar features and doctrinal positions having existed already prior to Russia’s annexation of Crimea, and the willingness to adjust these positions to official assessments of the Russian government, if necessary. Even before the annexation of Crimea, the discourse on self-determination in Russian scholarship showed some distinctive features, of which most can be explained by a lasting legacy of the former Soviet doctrine of international law, in particular the position that the right to self-determination may in principle also confer a right of secession. In sum, these features stayed however more or less inside the canon of the ‘invisible college of international lawyers’, as Oscar Schachter once famously called it. Only with ‘Crimea’, the company arguably parted again, and once Russia’s actions on the peninsula made it impossible for Russian scholarship to stay within the consensus view without criticizing the Russian government, former consensus was partly replaced by historical-irredentist claims, creative re-readings of self-determination, and attempts in revitalizing the concept of consolidation of historical titles. Moreover, the assessment of ‘Crimea’ in Russian international law scholarship clearly shows that the views expressed in the academic debate by and large correlated with the official positions purported by the Russian government (although criticism was not completely absent, and in particular scholars from the younger generation in Russia were not all ready to accept the official interpretation of the events).