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Academic literature on the topic 'Julian Criticism and interpretation'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Julian Criticism and interpretation"

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Catană, Elisabeta Simona. "History as Story and Parody in Julian Barnes’s the Noise of Time." Romanian Journal of English Studies 16, no. 1 (November 1, 2019): 25–31. http://dx.doi.org/10.1515/rjes-2019-0004.

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AbstractThis article analyses Julian Barnes’s The Noise of Time, a postmodernist parody of the Russian communist world, and shows that historical truth is turned into a story which is remembered with bitter irony and which offers various interpretations. Being nothing but a story, history, associated with the symbol of noise, becomes subject to parody. Emphasizing the role of irony in revealing the dramatic effects of the Russian communist past, this essay remarks that parody functions as severe criticism.
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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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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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Flower, Richard. "TAMQVAM FIGMENTVM HOMINIS: AMMIANUS, CONSTANTIUS II AND THE PORTRAYAL OF IMPERIAL RITUAL." Classical Quarterly 65, no. 2 (September 2, 2015): 822–35. http://dx.doi.org/10.1017/s000983881500035x.

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Constantius, as though the Temple of Janus had been closed and all enemies had been laid low, was longing to visit Rome and, following the death of Magnentius, to hold a triumph, without a victory title and after shedding Roman blood. For he did not himself defeat any belligerent nation or learn that any had been defeated through the courage of his commanders, nor did he add anything to the empire, and in dangerous circumstances he was never seen to lead from the front, nor even to be among the front ranks. But he wanted to display an exaggeratedly long procession, standards stiff with gold and the beauty of his attendants, to a population who were living more peacefully, neither anticipating nor wishing to see this or anything like it. For perhaps he was unaware that some earlier emperors had been content with lictors in peacetime, but when the heat of battle could not allow inactivity, one of them had entrusted himself to a small fishing boat, blasted by raging gales, another had followed the example of the Decii and offered up his life in a vow for the state, and another had himself explored the enemy camp alongside the regular soldiers; that, in short, various of them had won renown for magnificent deeds, and so committed their glories to the distinguished memory of posterity. …When he was approaching the city, observing with a serene expression the respectful attendance of the Senate, and the venerable likenesses of the patrician families, he thought, not like Cineas, the legate of Pyrrhus, that a multitude of kings had been assembled together, but rather that this was the refuge of the whole world [cumque urbi propinquaret, senatus officia, reuerendasque patriciae stirpis effigies, ore sereno contemplans, non ut Cineas ille Pyrrhi legatus, in unum coactam multitudinem regum, sed asylum mundi totius adesse existimabat]. Next, when he turned his gaze to the general populace, he was astonished at the speed with which every type of men from everywhere had flowed into Rome. As though he were trying to terrify the Euphrates or the Rhine with the sight of arms, with the standards in front of him on each side, he sat alone in a golden chariot, glittering with the shimmer of many different precious stones, whose flashes seemed to produce a flickering light. After many others had preceded him, he was surrounded by dragons, woven from purple cloth and affixed to the golden, bejewelled tips of spears, open to the wind with their broad mouths and so hissing as though roused with anger, trailing the coils of their tails in the wind [eumque post antegressos multiplices alios, purpureis subtegminibus texti, circumdedere dracones, hastarum aureis gemmatisque summitatibus illigati, hiatu uasto perflabiles, et ideo uelut ira perciti sibilantes, caudarumque uolumina relinquentes in uentum]. Then there came a twin column of armed men, with shields and plumed helmets, shining with glittering light, clothed in gleaming cuirasses, with armoured horsemen, whom they call clibanarii, arranged among them, masked and protected by breastplates, encircled with iron bands, so that you might have thought them to be statues finished by the hand of Praxiteles, not men [sparsique catafracti equites, quos clibanarios dictitant, personati thoracum muniti tegminibus, et limbis ferreis cincti, ut Praxitelis manu polita crederes simulacra, non uiros]. Slender rings of metal plates, fitted to the curves of the body, clothed them, spread across all their limbs, so that, in whatever direction necessity moved their joints, their clothing moved likewise, since the joins had been made to fit so well.When he was hailed as Augustus with favourable cries, [Constantius] did not shudder at the din that thundered from hills and shores, but showed himself unmoved, as he appeared in his provinces. For, when passing through high gates, he stooped his short body, and, keeping his gaze straight, as though his neck were fixed, he turned his head neither right nor left, as though an image of a man, and he was never seen to nod when the wheel shook, or to spit or wipe or rub his face or nose, or to move his hand [nam et corpus perhumile curuabat portas ingrediens celsas, et uelut collo munito, rectam aciem luminum tendens, nec dextra uultum nec laeua flectebat, tamquam figmentum hominis, nec, cum rota concuteret, nutans, nec spuens, aut os aut nasum tergens uel fricans, manumue agitans uisus est umquam]. Although this behaviour was an affectation, it, and other aspects of his more private life, were however indications of extraordinary endurance, granted to him alone, as it was given to be supposed. This passage, which describes the aduentus of Constantius II into Rome in 357, is one of the best-known episodes in the Res Gestae of Ammianus Marcellinus. This historical work was completed by the retired military officer in around 390, with the surviving books covering the period from 353 to the aftermath of the Battle of Adrianople in 378. Unsurprisingly, this passage is also one of the most debated. Throughout his work, Ammianus regularly criticized Constantius as a weak, vicious ruler, influenced by women and, in particular, eunuchs, and so contrasted him with his cousin and successor Julian, the emperor who receives the most favourable treatment within this text. The degree and nature of criticism within this particular passage has, however, been the subject of a variety of wildly differing interpretations. It is clear that, at the outset, Ammianus is inveighing against the notion of holding a triumph for victory in a civil war, but there has been debate over whether Constantius was actually celebrating a triumph or merely the anniversary of his accession. Similarly, the description of the Senate as ‘the refuge of the whole world’ has been read in contrasting ways, being regarded as derogatory by Johannes Straub, as neutral, or even positive, by Pierre Dufraigne, and as respectful by R.C. Blockley. While this passage as a whole is generally read as an attack on Constantius for his pretentions to ill-deserved military glory, it also raises the question of whether Ammianus was also criticizing Constantius for the way in which he performed his aduentus, emphasizing his pompous and autocratic behaviour in order to contrast him with Julian, who preferred to behave more like a ciuilis princeps in public. Of course, such a reading almost inevitably produces a portrait of Ammianus as an impractically nostalgic figure, harking back to a style of rule which was anachronistic in the post-Diocletianic Later Roman Empire. In addition, Ammianus also presented Julian as performing an aduentus into Constantinople in 361, employing some phrases that were similar to those used to describe Constantius’ procession in 357. Furthermore, as John Matthews has illustrated, Ammianus’ presentations of the occasions when Julian eschewed late-antique imperial protocol are not without tinges of criticism, and his judgement on the propriety of different modes of imperial behaviour varied dependent on the context.
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Dohmen, Josh. "Disability as Abject: Kristeva, Disability, and Resistance." Hypatia 31, no. 4 (2016): 762–78. http://dx.doi.org/10.1111/hypa.12266.

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In this essay, I develop an account of disability exclusion that, though inspired by Julia Kristeva, diverges from her account in several important ways. I first offer a brief interpretation of Kristeva's essays “Liberty, Equality, Fraternity and … Vulnerability” and “A Tragedy and a Dream: Disability Revisited” and, using this interpretation, I assess certain criticisms of Kristeva's position made by Jan Grue in his “Rhetorics of Difference: Julia Kristeva and Disability.” I then argue that Kristeva's concept of abjection, especially as developed by Sara Ahmed and Tina Chanter, offers important insights into disability oppression; Ahmed's and Chanter's contributions improve upon Kristeva's account. Understanding disability as abject helps to explain both resistances to interacting with disabled others and ways to resist disability oppression. Finally, I argue that understanding disability as abject is preferable to recent deployments of Lacanian theory in disability studies and that this account is compatible with social models of disability.
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Karnes, M. "Julian of Norwich's Art of Interpretation." Journal of Medieval and Early Modern Studies 42, no. 2 (April 1, 2012): 333–63. http://dx.doi.org/10.1215/10829636-1571903.

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Zaret, David, and Michael Walzer. "Interpretation and Social Criticism." Contemporary Sociology 17, no. 1 (January 1988): 122. http://dx.doi.org/10.2307/2069485.

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Senchuk, Dennis M., and Michael Walzer. "Interpretation and Social Criticism." Noûs 26, no. 3 (September 1992): 389. http://dx.doi.org/10.2307/2215966.

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Gorski, Philip S. "SCIENTISM, INTERPRETATION, AND CRITICISM." Zygon� 25, no. 3 (September 1990): 279–307. http://dx.doi.org/10.1111/j.1467-9744.1990.tb00793.x.

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Dissertations / Theses on the topic "Julian Criticism and interpretation"

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Laval, Cédric. "Les procédés de déréalisation dans les récits de Julien Gracq /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82910.

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In this thesis, I propose an analysis of Julien Gracq's fictional works, based upon a dual methodological approach inspired by Genettian naratology and the phenomenological theories of reading. I argue that "derealization" is an important element of Julien Gracq's writing, which is often perceived in binary terms (classical and/or modern, alternately real and unreal, realistic and magical). This hypothesis leads me to develop a conceptual framework for a notion that, while it has on occasion been invoked by critics, has never been properly defined. In this framework, derealization is defined both as a textual product and a reading effect. As a textual product, it is primarily an interstitial phenomenon insofar as it operates between the different levels of the text (enonciative levels, temporal levels, referential levels), creating confusion, competition, and what I have called "subordinating inversion". As a reading effect, it tends at once to disturb the reader's horizon of expectations, to prevent referential stability (defined as a textual construct and in relation to the reading experience), and to introduce a tension in the reading process without completely hindering the reader's progress. This tension manifests itself in the form of uncertainty, a blurring or subverting of diegetical content, persistent instability or a powerful determinism whose limits are unclear. In the final analysis, derealization can be described as a syncretic concept that reconciles, on the one hand, the immanent structures of the text and the phenomenological experience of reading, and, on the other hand, the stable, "ureassuring" dimension of the traditional novel and its modernistic undermining. Seen in this light, the concept of derealization could prove to be a useful tool for the study of certain contemporary works that seek to rejuvenate traditional literary forms without rejecting them entirely. Julien Gracq's works are a perfect example of just su
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Nantel, Mylène. "La nouvelle néofantastique de Julio Cortázar ; suivi de, Le lecteur de pistes /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ29502.pdf.

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Moran, Dominic Paul. "Questions of the liminal in the fiction of Julio Cortázar." Thesis, University of Cambridge, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.627115.

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Lithander, Erik Per Emanuel. "A study of the pre-exile novels of Julio Cortázar." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.621003.

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Giguère, Marielle. "Julien Gracq et le réalisme magique." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=101879.

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This thesis consists in a comparison between the novels of Julien Gracq and the magical realism. More precisely, our research's main concern is about the forms of strangeness developed throughout the works of the author. We wish to demonstrate how elements of the texts---space, time, metafiction and intertextuality---generate the appropriate atmosphere for the emergence of magic. We think that, whether or not the representation includes magic, it maintains itself on the edge of the fantastic, partly because the images constantly suggest its imminence. Our intention is thus to prove that the feeling of strangeness that emerges from Gracq's fiction is a latent or embryonic form of magical realism.
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Silva, Camilo Gomide Cavalcanti. "A própria vida: efeitos de real e de sinceridade nas autoficções de Julián Fuks e de Karl Ove Knausgård." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20599.

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This work aims to analyze the effects of reality and sincerity in the autofictions A resistência, by Brazilian writer Julián Fuks, and Minha luta, by Norwegian writer Karl Ove Knausgård. These contemporary authors seek a new form of realistic expression in their works. Both start from a lack of interest in traditional fiction, with fictional plots and characters, and choose to write about their own life, finding greater legitimacy in the autobiographical. Autofiction was coined in the 1970s to define a practice which became popular among writers interested in telling their own story. Although it is inevitably contaminated by fiction, many authors have found in this genre a means of seeking new effects of reality and authenticity. This research intends to understand how these writers forge these impressions from something so notoriously fallible as memory. The theoretical foundations of this research have, as a starting point, the seminal analyses of Michel Foucault on the writings of the self and the study of Jean Starobinski on the Confessions of Rousseau. From the literary field, Roland Barthes’ studies on realism and the limits of representation are considered, as well as other theorists dedicated to the themes of autobiography and autofiction, such as Lejeune (2014), Doubrovsky (1977) (who coined the term autofiction) and contemporary researchers such as Schøllhammer (2009), Klinger (2012), Faedrich (2016) and Perrone-Moisés (2016). The conclusion of this research is that both Fuks and Knausgård find, in autofiction, a form of greater commitment to literature. The difference, however, is that in A resistência, the effect of reality comes from the narrator’s constant suspicion of his own narrative; and in Minha luta, this effect comes from the corrosive confession of the narrator, who deeply identifies with the author
Este trabalho tem por finalidade analisar os efeitos de real e de sinceridade nas autoficções A resistência, do escritor brasileiro Julián Fuks, e Minha luta, do escritor norueguês Karl Ove Knausgård. Esses autores contemporâneos buscam, nessas obras, uma nova forma de expressão realista. Ambos partem de um desinteresse por ficções tradicionais, com enredos e personagens fictícios, e optam por escrever sobre a própria vida, por encontrarem, no material autobiográfico, uma maior legitimidade. A autoficção é um neologismo criado na década de 1970 para definir a prática, que se popularizou entre alguns escritores interessados em narrar sua própria história. Embora seja marcada pela contaminação inevitável da ficção, muitos autores têm encontrado no gênero um meio de buscar novos efeitos de real e de autenticidade. Esta pesquisa pretende entender como esses escritores forjam essas impressões, a partir de uma matéria sabidamente falível como a memória. Os fundamentos teóricos da investigação têm, por ponto de partida, as análises seminais de Michel Foucault a respeito das escritas de si e o estudo de Jean Starobinski sobre as Confissões, de Rousseau. No campo literário, alicerçam a pesquisa os estudos de Roland Barthes sobre o realismo e os limites da representação, além de outros teóricos que se dedicam à questão da autobiografia e da autoficção, como Lejeune (2014), Doubrovsky (1977) (o inventor do termo autoficção) e pesquisadores contemporâneos como: Schøllhammer (2009), Klinger (2012), Faedrich (2016) e Perrone-Moisés (2016). A conclusão da pesquisa é a de que tanto Fuks quanto Knausgård encontram na autoficção uma forma de comprometimento maior com a literatura. A diferença, no entanto, é a de que, em A resistência, o efeito de real advém da desconfiança permanente do narrador sobre o próprio relato; e, em Minha luta, este efeito provém da confissão corrosiva do narrador, que se identifica profundamente com o autor
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Johnson, Wolter Mary Joanne. "The quest according to Julien Gracq : a study of the search for the beyond in Gracq's three novels and his play Le roi pêcheur." PDXScholar, 1991. https://pdxscholar.library.pdx.edu/open_access_etds/4246.

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Julien Gracq' s quest for the "au-delà" is similar in many ways to the Surrealists' attempts to get in touch with the Beyond and to find that mythical and ideal point where binary oppositions are no longer contradictory but complementary. However, he differs greatly from the Surrealists in that his writing is anything but "automatic". Whereas he acknowledges being influenced by the Surrealists' ideas and by the works of certain authors, notably Goethe, Wagner, and Edgar Allen Poe, his works are a unique and carefully constructed web of style techniques, double-entendres, intertextual references, poetic devices, and a deliberate blurring of the dividing line between clear and obscure.
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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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De, Coning Alexis. "Perversity on paper taboo, abjection and literature: Iain Banks' The wasp factory, Ian McEwan's The cement garden, and Irvine Welsh's Marabou stork nightmares." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002247.

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This thesis explores the notion of perversity in literature, specifically with regard to representations of taboo and abjection in Iain Banks‟ The Wasp Factory, Ian McEwan‟s The Cement Garden, and Irvine Welsh‟s Marabou Stork Nightmares. Julia Kristeva‟s Powers of Horror: An Essay on Abjection, as well as her notion of revolt, constitute the central theoretical framework for my analysis. However, I also draw upon the concepts of monstrosity, grotesqueness and the uncanny in order to explicate the affect of abject fiction on the reader. I posit, then, that to engage with literary works that confront one with perversity, abjection and taboo entails exposing oneself to an ambiguous or liminal space in which culturally established values are both disrupted and affirmed. The subversive and revolutionary potential of the aforementioned novels is discussed with reference to the notion of the perverted Bildungsroman since, in their respective transgressions of taboos, the narrators of these novels disrupt social order, and their narratives end on a note of indeterminacy or the absolute finality of death, rather than self-actualisation. Moreover, in exposing the binaries of sex and gender as arbitrary and fluctuating, these narrators‟ perverse sexual and gender performativities gesture towards alternative modes of being (beyond social sanction), and invoke Kristeva‟s notion of individual revolt as a „condition necessary for the life of the mind and society‟.
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Béjar, Pachas Giovanna. "La sombra del racismo peruano en los cuentos de Julio Ramón Ribeyro /." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82682.

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Ce resume analyse le phenomene du racisme dans les oeuvres de l'auteur peruvien Julio Ramon Ribeyro comme etant le reflet de la societe peruvienne contemporaine. L'auteur se sert d'arguments percutants pour confronter l'ordre etabli; un ordre qui refuse toujours d'acquiescer l'existence de ce phenomene. Pour nous, ce fait social transgresse la constitution de cette nation equitable envers tous ses membres, et par le fait meme, merite qu'on l'examine de plus pret et qu'on lui porte une attention toute particuliere.
Le premier chapitre decrit le contexte historique de ces recits. De plus, il va inclure une presentation des faits politiques majeurs qui ont affecte ce phenomene qui est le racisme au Perou, durant le vingtieme siecle. Pour clore le chapitre, nous allons etudier le milieu social et professionnel de l'auteur. Dans le deuxieme chapitre, nous allons tenter de definir des termes essentiels tels que: race, ethnique et racisme, dans le contexte social peruvien. Finalement, dans le troisieme chapitre, nous allons analyser- en se servant des informations etablies auparavant- huit des recits de Ribeyro. Ces histoires, tous ecrits entre 1960 et 1990, traite sur le sujet du racisme.
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Books on the topic "Julian Criticism and interpretation"

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Julian Tuwim. Warszawa: Wiedza Powszechna, 1986.

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Sawicka, Jadwiga. Julian Tuwim. Warszawa: Wiedza Powszechna, 1986.

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Julian Barnes. New York: Palgrave Macmillan, 2009.

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Wiesław, Kot. Julian Stryjkowski. Poznań: Dom Wydawniczy "Rebis", 1997.

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Council, British, ed. Julian Barnes. Tavistock, Devon, U.K: Northcote House in association with the British Council, 2002.

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Julian Barnes. Manchester: Manchester University Press, 2011.

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Understanding Julian Barnes. Columbia, S.C: University of South Carolina Press, 1997.

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Julian Przyboś: Kulturowe podstawy tworczości. Warszawa: Ludowa Spółdzielnia Wydawnicza, 1987.

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Schulte, Hendrich. Julian von Ägypten. Trier: Wissenschaftlicher Verlag Trier, 1990.

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The fiction of Julian Barnes. New York: Palgrave Macmillan, 2006.

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Book chapters on the topic "Julian Criticism and interpretation"

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Bogel, Fredric V. "New Formalist Interpretation." In New Formalist Criticism, 102–52. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137362599_4.

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Cohen, Ralph. "Literary Criticism and Artistic Interpretation." In Reason and Imagination, 279–306. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003222996-14.

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Bonelli, Paolo, Giorgio Guidotti, Enrico Paolini, and Giulio Spinucci. "Pacemaker Stimulation Criticism at ECG." In New Concepts in ECG Interpretation, 175–85. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91677-4_16.

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Wang, Fengzhen. "Marxist Literary Criticism in China." In Marxism and the Interpretation of Culture, 715–22. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19059-1_49.

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Capellmann, Herbert. "Later Criticism of the Copenhagen Interpretation." In SpringerBriefs in History of Science and Technology, 77–81. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61884-5_10.

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Amesbury, Richard. "Norms, Interpretation, and Decision-Making: Derrida on Justice." In Morality and Social Criticism, 46–64. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230507951_3.

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Mallinson, Jane. "Objects of Attention: The Literary Criticism." In T.S. Eliot’s Interpretation of F.H. Bradley, 23–34. Dordrecht: Springer Netherlands, 2002. http://dx.doi.org/10.1007/978-94-017-0411-3_3.

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Gutiérrez Pozo, Antonio. "Subjectivity and Transcendence: Husserl’s Criticism of Naturalistic Thought." In Man’s Self-Interpretation-in-Existence, 379–85. Dordrecht: Springer Netherlands, 1990. http://dx.doi.org/10.1007/978-94-009-1864-1_30.

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Barrett, Michèle. "The Place of Aesthetics in Marxist Criticism." In Marxism and the Interpretation of Culture, 697–713. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19059-1_48.

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Davis, Todd F., and Kenneth Womack. "Introduction: Moving beyond the Politics of Interpretation." In Formalist Criticism and Reader-Response Theory, 1–10. London: Macmillan Education UK, 2002. http://dx.doi.org/10.1007/978-1-4039-1916-8_1.

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Conference papers on the topic "Julian Criticism and interpretation"

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Al-dabbagh, Asma. "The Nature of Interpretation in Architectural criticism." In INTERNATIONAL CONFERENCE ON ARCHITECTURAL AND CIVIL ENGINEERING 2020. Cihan University-Erbil, 2021. http://dx.doi.org/10.24086/aces2020/paper.256.

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The expressive systems in architecture consists of two components: the system of forms and the system of meanings, these systems are linked together by unwritten rules, which are a matrix of correlations / implications that determine any meanings associated with any forms. The designer remains unsure of the possible interpretations of his design, because of the variation in the nature of meaning, discovered by the recipient, and this stems from the variation of reliance on the theory of interpretation in this regard. Many studies of architectural semiology indicate some of these theories; Classical theory believes in the natural meaning, which influenced by form's geometry, Pragmatic theory believes in the common meaning, which stems from the use of form within different contexts and according to social custom. The research attempts to explore the aspects of interpretation adopted by two critics, in order to determine the theory adopted by them, so the designer will be aware to the nature and type of meaning comprehended by viewers. The results showed the adoption of common and inclusive meanings, also showed the variation in the role of architectural Expressions in confirming or multiplying the meaning, influenced by contexts and signal types. The conclusion emphasized the importance of historical references, stylistic trend, and spatial contexts in form interpretation.
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"Interpretation of "Wuthering Heights" from the Perspective of Eco-criticism." In 2018 4th International Conference on Economics, Management and Humanities Science. Francis Academic Press, 2018. http://dx.doi.org/10.25236/ecomhs.2018.126.

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Kenyhercz, Róbert. "Interpretation of data and sources in etymological research." In International Conference on Onomastics “Name and Naming”. Editura Mega, 2022. http://dx.doi.org/10.30816/iconn5/2019/39.

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The aim of the paper is to emphasize the importance of source criticism in etymological research. It is widely known that the main sources for the early history of toponyms in the Carpathian Basin are the charters created in the medieval Hungarian Kingdom, because these official documents contained a large number of vernacular proper names embedded in the Latin text. However, it is important to mention that the medieval charters were produced by the chancery and places of authentication along specific principles and needs. I argue that this circumstance must always be considered during the interpretation of the data. I will show some examples illustrating that – in certain cases – we have to take into account the nature of the sources in the reconstruction of the genesis of place names. My goal is to offer a brief outline of this issue through my own investigations.
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Verner, Inna. "The legacy of Maximus the Greek in the biblical revision of Euthymius Chudovsky (1680s)." In Tenth Rome Cyril-Methodian Readings. Indrik, 2020. http://dx.doi.org/10.31168/91674-576-4.04.

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The paper explores the use by Euthymius Chudovsky of Maximus the Greek’s achievements in the linguistic revision of biblical texts. Correction and translation of the New Testament by Euthymius in the 1680s demonstrates not only the appeal to the texts translated by Maximus as language patterns, but also the development of his philological criticism of the text of Holy Scripture and its interpretation.
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Fateeva, I. "“AN EVERLASTING DAY” (IN RELATION TO THE PAINTING “HUNTERS IN THE SNOW” BY PIETER BRUEGEL)." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2554.978-5-317-06726-7/93-96.

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The article gives an aesthetic interpretation of the art criticism judgment - “An everlasting day” in relation to the painting “Hunters in the Snow” by the Dutch artist, representative of the Northern Renaissance (16th century) Pieter Bruegel (Muzhitsky). In the context of the ideas of phenomenological aesthetics, the type of painting is determined, a conclusion is made about the applicability of the considered judgment to paintings of a certain type, examples of such works from Russian art are given.
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Xu, Manyan. "A New Interpretation of Chinese Versions of Stray Birds Based on Reiss's Translation Criticism A Case Study of the Translations by Feng Tang and Zheng Zhenduo." In Proceedings of the 2nd International Conference on Contemporary Education, Social Sciences and Ecological Studies (CESSES 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/cesses-19.2019.128.

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Aravot, Iris. "An Attempt at Making Urban Design Principles Explicit." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.42.

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Since its rise as an autonomous field in the seventies, Urban Design has been a conglomerate of diverse concepts and value outlooks.The present approach, which is an a posteriori propositional expression of applications in actual practice and education, presents both theory and method by means of ten points. The approach is basically generated by formal considerations, thus originating in and focussing on aspects which cannot be expressed through theory and methods of other disciplines. It starts with systematic, conventional and objective studies which are then connected to a system of manipulations – the rules of game – which emphasize interpretation and are clarified by narrative and formal metaphors. The ‘rules of game’ set a framework of no a priori preferred contents, which is then applied according to local characteristics, needs and potentials. This conceptual – interpretative framework imposes a structural, consistent and hierarchical system on the factual data, so as to assure the realization of two apparently opposed values: (1) unity and phenomenological qualities and (2) free development and unfolding of the design that .The propositional expression of the approach aims at its exposure to explicit evaluation and criticism.
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Aslandogan, Y. Alp. "PRESENT AND POTENTIAL IMPACT OF THE SPIRITUAL TRADITION OF ISLAM ON CONTEMPORARY MUSLIMS: FROM GHAZALI TO GÜLEN." In Muslim World in Transition: Contributions of the Gülen Movement. Leeds Metropolitan University Press, 2007. http://dx.doi.org/10.55207/mnsp5562.

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Western analysts of trends in the contemporary Islamic world often overestimate the impact of contemporary Sufi orders and/or underestimate the impact of the spiritual tradition of Islam. Among the elements of the spiritual tradition conducive to religious pluralism is the ‘mirror’ concept: every human is seen as a mirror of God in three aspects: reflecting the at- tributes and names of God as His work of art, reflection through dependence on God, and reflection through actions God commands or commends. Since only the last aspect is vol- untary, every human, regardless of creed, is a mirror of God in at least the first two aspects. This is a potent argument for peaceful coexistence in religious diversity. The perspective of the spiritual tradition is emphatically inclusive and compassionate and naturally lends itself to non-violence, going beyond mere tolerance to hospitality and friendship. There are impor- tant impediments that prevent this perspective from having a greater impact: (1) the literalist opposition to flexible interpretation of concepts from the Qur’an and the Prophetic tradition, and the wide definition of innovation or heresy (‘bid`a’); (2) deviations of some Sufi orders and subsequent criticisms by orthodox Muslims; and (3) the impact of the politicisation of religion by some groups and political moves by certain Sufi orders. This paper argues that the only approach that has a chance of influencing the majority of contemporary Muslims in positive ways without being open to criticism is the ‘balanced’ spiritual tradition, after the style of the Companions, sometimes called tasawwuf, which strives to harmonise the outer dimensions of Islamic law and worship with the inner dimen- sion of spiritual disciplines firmly rooted in the Qur’an and Prophetic tradition. This paper will present an analysis of this ‘balanced’ spiritual tradition in Islam, from Ghazali, through Rumi, to Gülen.
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