Academic literature on the topic 'M F A Criticism and interpretation'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'M F A Criticism and interpretation.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "M F A Criticism and interpretation"
1
Shcherbina, Yu I. "Appeal to the Work of F. M. Dostoevsky by Russian Emigration in Chekhia: A. L. Bem and the Psychoanalytic Method of Interpreting a Work of Art." Philosophical Letters. Russian and European Dialogue 3, no. 4 (December 2020): 146–57. http://dx.doi.org/10.17323/2658-5413-2020-3-4-146-157.
Full textAbstract:
The article is devoted to the conversion around works of F. M. Dostoevsky which took place among Czech intellectuals, among whom there were a lot of immigrants from Russia. In this context, the example of Alfred Ludwigovich Bem is indicative. The article reveals main reasons for the interest in Dostoevsky in Czechoslovakia. An important role in the study of Dostoevsky was played by the so-called ‘Russian action of aid’ and ‘Russian trace’ left by the exiles in Prague. In this regard, A. L. Bem is interesting not only as a researcher who devoted many works to Dostoevsky’s work but also as one of the founders of Dostoevsky’s first international society. Bem was also one of the first researchers who applied psychoanalysis to the interpretation of Dostoevsky’s literary works. He was also one of those who also analyzed the specifics of using psychoanalytic methods in literary criticism. The article reveals the methodological basis of Bem’s interpretation: attention is drawn not only to the connection between the theme “Dostoevsky and his Reader” and psychoanalysis (Bem’s ‘method of small observations’), but also to the origins of Bem’s interpretation of psychoanalysis associated with the formal school in literary criticism; the disadvantages of psychoanalysis as a way of interpreting a work of art are emphasized.
2
Vezhnevets, Iryna. "Intermediality and problems of interpretation of the vocal cycle "The Short Straw" of Francis Poulenc." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 101–6. http://dx.doi.org/10.32461/2226-2180.39.2021.238698.
Full textAbstract:
The purpose of the article is due to the need to study the peculiarities of the interpretation of the artistic texts of the vocal cycle of F. Poulenc on the poem by M. Karem "Straw" in the intermedial space. The methodology is based on an integrated approach using comparative, structural, interdisciplinary methods and narrative analysis to understand the psychological processes that arise when interpreting a vocal cycle, involves the inclusion of the problem of analysis in the space of art history and cultural discourse in an interdisciplinary context. Scientific novelty the scientific novelty lies in the fact that the vocal cycle of F. Poulenc was first investigated as a full-fledged semiotic space, a universal plane of the textual category of intertextuality, which, along with the specific characteristics of its sign system, conveys "figurative" information. Conclusions Analysis of philosophical, musicological, art criticism literature gives grounds to assert that the intermediality of vocal work is closely related to the concepts: "synthesis of arts", "narrative", "ekphrasis", "synesthesia", "suggestion", etc. F. Poulenc to poems by M. Karem “A Short Straw” is a full-fledged semiotic space that corresponds to the universal textual category of intertextuality, which, along with the specific characteristics of its sign system, conveys “figurative” information. The intermediality of vocal work is based on the interaction of artistic codes of various types of arts, as the formation of an integral poly art space in the cultural system. The combination of narrative and intermedial approaches to musical works is increasingly becoming one of the most relevant trends in modern musicology, the further development of the theory and practice of intermediality.
3
Davydova, Tatiana T. "Polemic notes on the literary type of the “little person”: to the question about the “band of titular advisers”." Philological Sciences. Scientific Essays of Higher Education, no. 6 (November 2020): 88–95. http://dx.doi.org/10.20339/phs.6-20.088.
Full textAbstract:
The appearance of A. Pushkin and the evolution of N. Gogol, M. Lermontov, F. Dostoevsky, A. Chekhov, M. Zoshchenko, E. Zamyatin of the type of “little man” is considered, its originality in the work of each of the writers is revealed. The genetic connections of Gogol’s “St. Petersburg” stories with Hoffmann’s prose are revealed, the image of Bashmachkin is interpreted in the context of L. Shestov’s ideas, and some interpretations of the “little man” type in modern Russian literary criticism are evaluated.
4
Feshchenko, Vera Sergeevna. "Features of Solving Plots in Temple Painting by the Founders of the Religious-national Trend and Artists of the Circle of M. M. Vasiliev." Культура и искусство, no. 11 (November 2022): 1–29. http://dx.doi.org/10.7256/2454-0625.2022.11.39259.
Full textAbstract:
The subject of the study is to identify the peculiarities in solving the plots of church painting of individual representatives of the religious-national trend of the turn of the XIX - XX centuries. The purpose is to show the development of national trends of Russian monumental church art by the founders of the religious-national trend on the examples of the work of V. M.Vasnetsov, M. V. Nesterov, M.A. Vrubel and artists M. M. Vasiliev, A. P. Blaznov, L. A. Pyanovsky, K. S. Petrov-Vodkin, F. R. Raylian, to identify similarities and differences in the manner and in the transmission of images and compositions, as well as to substantiate the significance of these differences for art history. The basis of art criticism research is the formal stylistic method of G. Velflin, the iconographic method of N. P. Kondakov, the iconological method of E. Panofsky; the method of phenomenological analysis of the aesthetic perception of the artistic work of V. V. Bychkov and G. K. Wagner. Comparative analysis of murals by artists M. M. Vasiliev, A. P. Blaznov, L. A. Pyanovsky, F. R. Raylian, K. S. Petrov-Vodkin in comparison with the work of representatives of the "Vasnetsov school" allowed us to see the development of the national style in art, from an abstract-figurative understanding to a conscious spiritual-symbolic interpretation of church painting of the Middle Ages and pre-Petrine Russia as an integral artistic phenomenon of the religious-national trend. The practical significance of the study lies in the fact that the example of the artists of the "Vasiliev circle" revealed a kind of overcoming of one of the main problems of the iconographic image, which consists in maintaining a delicate balance of life-likeness and ideality. In their works, in the context of interpretation, the measure of realism of the image is traced, in which the spiritual content can be embodied in a material form without losing its sacred content, which is a valuable example for modern artists who set themselves the task of creating images without copying, but remaining in the canon.
5
Malinkin, Alexander. "To the History of Russian Sociology of the 1920–1930s: Soviet Marxism vs “Sociology of Knowledge”." Sociological Journal 27, no. 3 (September 28, 2021): 147–74. http://dx.doi.org/10.19181/socjour.2021.27.3.8428.
Full textAbstract:
In the 1920’s Marxism, having become the state ideology of Soviet Russia, took a leading position among the political ideologies of Europe in terms of its influence on the minds and hearts of people. The teachings of K. Marx and F. Engels received various interpretations, among which “sociology of knowledge” in the interpretation of M. Scheler and K. Mannheim earned the most recognition in the academic environment. It originated in Germany in the mid 1920’s as a result of criticism of the Marxist “theory of ideology”, of “economist” limitations of the materialistic vision of man, of history and society. In the USSR “sociology of knowledge” was understood to be the most refined attempt to overcome Marxism. The essential characteristics of Marxism and “sociology of knowledge” as interpreted by K. Mannheim are revealed, while being subjected to comparative and critical analysis. The first reaction of Soviet Marxist sociologists to “sociology of knowledge” is analyzed. In the light of this reaction, it was presented as “social fascism”. The specifics of how the teachings of K. Marx and F. Engels existed in the USSR during the 1920s–1930’s are evaluated. “Historical materialism” is qualified as a sociological methodology of suspicion, and the practice of its application by the Bolsheviks as a form of discrimination and persecution in society based on social class and social group affiliation.
6
Nilova, Anna. ""POETICS" OF ARISTOTLE IN RUSSIAN TRANSLATIONS." Проблемы исторической поэтики 19, no. 4 (December 2021): 7–39. http://dx.doi.org/10.15393/j9.art.2021.9822.
Full textAbstract:
The article presents an overview of the existing translations of Aristotle's “Poetics”, characterizes the features of each of them. In the preface to his translation of Aristotle's “Poetics”, V. Zakharov characterized the work of the Greek philosopher as a “dark text.” Each translation of this treatise, which forms the basis of European and world literary theory, is also its interpretation, an attempt to interpret the “dark places.” The first Russian translation of “Poetics” was made by B. Ordynsky and published in 1854, however, the Russian reader was familiar with the contents of the treatise through translations into European languages and its expositions in Russian. For instance, in the “Dictionary of Ancient and New Poetry” Ostolopov sets out the Aristotelian theory of drama and certain other aspects of “Poetics” very close to the original text. Ordynsky translated the first 18 chapters of “Poetics”, focusing on the theory of tragedy. The translator presented his interpretation of Aristotle’s concept in an extensive preface, commentaries and a lengthy “Statement.” This translation set off a critical analysis by Chernyshevsky, and influenced his dissertation “Aesthetic relations of art to reality”, in which the author polemicizes with the aesthetics of German romanticism. In 1885 V. Zakharov published the first complete Russian translation of “Poetics”, in which he offered his own interpretation of Aristotle's teaching on language and epic. The author of this translation returns to the terminology of romantic aesthetics, therefore the translation itself is outside the main line of perception of the teachings of Aristotle by domestic literary theory, which is clearly manifested in the translations of V. G. Appelrot (1893), N. N. Novosadsky (1927) and M. L. Gasparov (1978). The subject of discussion in these translations was the interpretation of the notions of μῦϑος and παθος, the concepts of mimesis and catharsis, the source of suffering and the tragic, the possibility of modernizing terminology. An important milestone in the perception and assimilation of Aristotle's treatise by Russian literary criticism was its translation by A. F. Losev, which was not published, but was used by the author in his theoretical works and in criticizing other interpretations of “Poetics”. M. M. Pozdnev penned one of the last translations of “Poetics” (2008). The translator does not seek to preserve the peculiarities of the original style and interprets “Poetics” within the framework and terms of modern literary theory, focusing on its English translations. The main subject of the translator's reflection is Aristotle's understanding of the essence and phenomenon of poetic art. Translations of the Greek philosopher's treatise reflect the history of the formation and development of the domestic theory of literature, its main topics and terminological apparatus.
7
Martyanova, Svetlana A. "PUSHKIN-DOSTOEVSKY MYTH ABOUT “DEVILRY” IN THE WORKS OF T. YU. KIBIROV." Tyumen State University Herald. Humanities Research. Humanitates 7, no. 4 (2021): 180–91. http://dx.doi.org/10.21684/2411-197x-2021-7-4-180-191.
Full textAbstract:
The article is devoted to the analysis and interpretation of the myth of “devilry” in the works of the modern Russian poet T. Yu. Kibirov. The myth of “devilry”, which goes back to the poem “Demons” by Alexander Pushkin (1830), has a special place in the history of Russian literature of the 19th and 21st centuries. V. A. Grekhnev identified its main components, and D. M. Magomedova traced the path of myth in post-Pushkin literature, from M. Yu. Lermontov to M. A. Bulgakov. At the same time, the life of the Pushkin-Dostoyevsky myth of “demonic” in post-symbolist literature, in independent Russian literature of the 20th century and modern literature remains unexplored. The author of the article, referring to the material of T. Yu. Kibirov’s “Message to Lev Rubinstein” (1989), “Give me a deconstruction! Gave…”, “Good for Chesterton — he lived in England”, “Historiosophical centon”, “We did not sell Christ”, “Happy New Year” etc., the poem “Kara-Baras”, dramatic experiments “The night before and after Christmas”, “Victory over Phoebus”, the chronicles “Lada, or Joy”, reveals elements of similarity with the traditions of A. S. Pushkin and F. M. Dostoevsky: images of empty darkness and chaos, loss of the path, value orientations, an appeal to the symbolism of the ballad genre, presented in a serious, playful, ironic tone. The classical tradition contains important keys and values for understanding new reality and becomes an integral part of the artistic language of its description. At the same time, fidelity to the classics is devoid of a sense of exclusivity, loud pathos, moralism, often includes idyllic, sentimental, humorous tones. The poet’s return to the classical literary tradition occurs after oblivion or denial of its values in Soviet times, which gave rise to the cultural problems of the post-Soviet period. In the course of the work, the methods of comparative literary criticism, intertextual analysis, mythopoetic and historical and cultural studies were used.
8
Rodin, Kirill. "BAKHTIN AND RENE GIRARD ON DOSTOEVSKY: A COMPARATIVE ANALYSIS." Respublica literaria, RL. 2021. vol. 2. no. 3 (September 15, 2021): 42–51. http://dx.doi.org/10.47850/rl.2021.2.3.42-51.
Full textAbstract:
The article provides a critical comparison of two independent interpretations of F. M. Dostoevsky: from the side of M. Bakhtin and from the side of Rene Girard. Both authors have created coherent ways of understanding and reading the literary heritage of the writer in the perspective of their own understanding of the history of literature and the intellectual history of mankind as such. Dostoevsky is significant for Bakhtin not simply as an illustration of the applicability of some of his own ideas within the framework of literary criticism. Bakhtin sees Dostoevsky as an innovator in the development of the menippea genre and an unprecedented dialogization of literature. At the same time, without Dostoevsky, the movement of literature postulated by Girard towards the embodiment of the Gospel revelation would be incomplete. The incompleteness of Girard or Bakhtin without Dostoevsky (with all the reservations) is not fundamental. Without Dostoevsky, history as such fundamentally changes for Girard and for Bakhtin. The apparent incomparability of the authors makes it possible to read Dostoevsky differently. From the context of Girard, the meaning of Bakhtin's works and, inevitably, the meaning of laughter and dialogue (polyphony) in history are significantly transformed. On the other hand, the ways of including Dostoevsky in the image of history created by Girard, independently of Bakhtin, also run into difficulties.
9
Kozlov, A. E. "Satirical Weekly “Iskra”: Post-Folklore, Post-Irony and Post-Modern." Vestnik NSU. Series: History and Philology 20, no. 6 (August 11, 2021): 19–34. http://dx.doi.org/10.25205/1818-7919-2021-20-6-19-34.
Full textAbstract:
Purpose. The reputation of the satirical weekly Iskra is traditionally determined by the political context of the Russian Empire in 1860s. Despite the fact that in the first years of its existence, the publication attracted writers of various fractions, views, and convictions, Iskra was perceived as a radical magazine, “…another department of Sovremennik”. Moreover, Iskra’s defamations and attacks against provincial and capital officials, and writers have become an inte gral part of the everyday life of the 1860s. Individual articles and whole issues have been banned and censored, though this policy only promoted and strengthened the reputation of weekly. Later, reflecting the importance of the magazine, the Soviet literary criticism established a typological relationship between Iskra by Kurochkines brothers and the left-wing newspaper of the same name published by V. I. Lenin at the beginning of the 20th century. This article attempts to reinterpret Iskra, implying a “weakening” of the sociological and political aspects of interpretation in favor of the aesthetic ones.Results. The article put forward a hypothesis that publications such as Charivari, Punch, and Iskra can be considered from perspective of modern discursive practices: post-folklore (the phenomenon of variable text and multiple authorship), post-modernity (discrediting the classical heritage or its carnival rethinking) and post-irony (deconstruction of modern leaders of opinion, self-exposure). Based on the study of prosaic and poetic parodies and satire, graphic texts - cartoons and serials (comics), the author analyzes the specificity of the construction and presentation of Russian reality as an anti-world. The article contains fragments of prose and poetic feuilletons by D. D. Minaev, V. P. Burenin, and M. Stopanovsky, many of which are published for the first time.Conclusion. Iskra as a product of the polemical journalism of the Russian Empire in 1860s displayedan experience of a new aesthetics (a kind of anti-aesthetics), synthesizing schoolchildren (cartoons) and decadent subcultures (Baudelaire translations). Apparently, the 8000 subscribers included not only a radical and democratic reader but also a general audience, equally tired of the official tone of government periodicals and the moralizing of the progressive camp. Demonstrating Russian life as the so-called ‘antiworld’, Iskra proposed a version of “carnival liberation”, which was probably reflected in the poetics of many contemporaries: M. E. Saltykov-Shchedrin, N. S. Leskov, F. M. Dostoevsky. In this regard, the issue of post-folklore, post-modernism, post-truth, and post-irony on the pages of Iskra rather remained unresolved. However, the change in perspective, it seems to us, enables reinterpretation of the previously collected data, allowing us to give a new interpretation.
10
Tychinina, Alyona. "The Interconnections between the Czech Methodological Platform and the Ideas of Modern Ukrainian Literature Studies." Pitannâ lìteraturoznavstva, no. 102 (December 28, 2020): 195–221. http://dx.doi.org/10.31861/pytlit2020.102.195.
Full textAbstract:
The article under studies identifies the methodological ties between modern Czech and Ukrainian literary studies on the example of Ivo Pospišil’s monograph “Methodology and Theory of Literary Slavic Studies and Central Europe” (2015). The methodological platform of the scientist is shown in dynamics: comparative studies, phenomenology, historical poetics, genre studies and areal studies. Areal (spatial) philology becomes the methodological framework and “cognitive tool” in the above work. Within the specific features of the hermeneutic circle, I. Pospišil outlines the methodological principles of Brno areal studies, as well as substantiates the powers of areal methodology. Hence, by means of deduction, he narrows the areas of its application and eventually connects spatial poetics to the analysis of specific texts of modern Czech literature. In this respect, areal studies are consonant with the methodology of the N. Kopystyanska’s scientific school. From the standpoint of literary axiology, I. Pospišil characterizes the literary process of 1960–1970 in the way that coincides with the ideas of D. Zatonsky and T. Hundorova. The interpretation of the tropical nature of allegory and symbol, within the areal issues, resonates with a number of Ukrainian investigations. I. Pospišil’s speculations on the problem of auto-reflection and auto-axiology of creativity is based mainly on the concepts of O. Potebnja, on whose methodological reputation rely the works of most Ukrainian researchers. The phenomenon of Central Europe is regarded in the context of “Central European centrism” and multiculturalism, which conceptually brings the scientific research closer to the American studies by N. Vysotska and T. Denysova. I. Pospišil emphasizes the influence of Central European university traditions of the first half of the XX century on the formation of the Prague Linguistic Circle, as well as on the scientific growth of F. Wallman, S. Vilinsky, R Jacobson and R. Wellek. The concept of the history of Russian literature, proposed by I. Pospišil, leads to the profound analysis of the scientific figure of D. Chyzhevsky, which is being widely studied in Ukraine. It is concluded that the “methodological balance” of Czech and Ukrainian literary criticism is ensured by common “pendulum movements” in the history of the literary process, common theoretical and literary basis (works by O. Potebnja, M. Bakhtin, D. Chyzhevsky, D. Ďurišin), parallel influences of Western European literary criticism, as well as collective conference events and consensual research optics.
Dissertations / Theses on the topic "M F A Criticism and interpretation"
1
Roza, Alexandra M. "Towards a modern Canadian art 1910-1936 : the Group of Seven, A.J.M. Smith and F.R. Scott." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20178.
Full textAbstract:
During the 1910s, there was an increasing concerted effort on the part of Canadian artists to create art and literature which would affirm Canada's sense of nationhood and modernity. Although in agreement that Canada desperately required its own culture, the Canadian artistic community was divided on what Canadian culture ought to be. For the majority of Canadian painters, writers, critics and readers, the future of the Canadian arts, especially poetry and painting, lay in Canada's past. These cultural conservatives championed art which mirrored its European and Canadian predecessors. Their domination of the arts left little room for the progressive minority, who rebelled against prevailing artistic standards. In painting, the Group of Seven was one of the first groups to challenge this stranglehold on Canadian culture. The Group waged a protracted and vocal campaign for the advancement of Canadian approaches and subjects. In literature, A. J. M. Smith and F. R. Scott began a similar movement to modernize Canadian poetry and reform critical standards. By examining the poetry, essays, criticism and archival material of these poets and painters, the thesis establishes strong parallels between the modernist campaigns of these two groups and investigates this cross-fertilization between the modern Canadian arts.
2
Ingham, David Keith. "Mediation and the indirect metafiction of Randolph Stow, M. K. Joseph, and Timothy Findley." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25819.
Full textAbstract:
In order to explore the range of indirect metafiction as presented in three exemplary novels, this dissertation begins by examining how the assumptions of "realism" on the one hand and "postmodernism" on the other relate to the paradigmatic triad of story-teller, story, and audience. From this context emerges the view that the range of metafiction is determined by how it reveals the processes and nature of fiction according to a spectrum of mediation: that of the writer between his "raw materials" and the text, that of the text between writer and reader, and that of the reader between the text and his interpretation.
Indirect metafiction (or "pretend realism") mediates between realism and postmodernism, revealing without breaking the illusions of realism.
Each of the next three chapters, after initially placing the key novel within the context of the author's work as a whole, discusses in detail a novel whose metafictional focus is on one of the three mediations. Accordingly, Chapter II focusses on Randolph Stow's The Girl Green as Elderflower (1980) and on the way it reveals the mediation of the author by presenting a writer's fiction as a synthesis of his personal and literary experiences. Chapter III notes how M. K. Joseph's A Soldier's Tale (1976) reflects the mediation of the reader by depicting a writer's interpretation and literary redaction of an oral tale. And Chapter IV shows how Timothy Findley's Famous Last Words (1981) demonstrates the mediation of the text by presenting a writer whose text "crystallizes" the illusions of fiction, then undercuts and exposes them. The analyses of the key texts employ both postmodern and traditional critical approaches, demonstrating them to be complementary; by noting the interpenetration of metafictional and traditional import and significance, the analyses also highlight the mediary nature of indirect metafiction.
The fifth chapter draws theoretical conclusions from ideas in the practical chapters: from metafictional revelations through the paradigm of mediation comes an "anatomy" of fiction, delineating its elements; from a sense of how the mind "structures" experience through "fictional" representations of both "reality" and fictional texts comes a "physiology," a sense of how fiction works through language. This discussion leads to definitions of realistic, unrealistic, and self-conscious fiction, and of metafiction, both direct and indirect; the dissertation concludes by remarking on the inter-relations of language, "fiction," and "reality."Arts, Faculty of
English, Department of
Graduate
3
Gerhart, Andrea L. "Leslie F. Ayres, an accomplished architect and architectural renderer." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214381.
Full textAbstract:
Leslie F. Ayres was an accomplished architect and architectural illustrator. His appreciation for and keen sense of art is apparent in his meticulous and poetic architectural illustrations. Mastering the skill of architectural drawing established Ayres as a designer, but he wasalso a builder. A successful architect, like Ayres, is both an artist and a builder, having the capability to guide a concept from design to construction. Leslie Ayres understood and valued this critical link needed to establish himself as a professional architect.He had a significant influence on the modern movement of architecture in Indiana, and a pioneering role of integrating gardens into his overall architectural designs. His designs utilized the functionalism of the modern movement, uniting the latest in building technologies: steel, concrete, and glass. However in contrast to many modernists, his designs would often reflect architecture based on precedents, incorporating Classical and traditional elements. Moreover, Ayres had a holistic approach to architecture that distinguished him from other modernist architects, in which every detail including light fixtures, interior finishes, and the surrounding landscape, related to the whole design idea.Department of Architecture
4
Bolduc, Alexandra. "Cioran et l'écriture du fragment." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30151.
Full textAbstract:
In this thesis, we will try to approach Cioran's work using the fragmentary theory. The different types of fragments (anecdotes, maxims, aphorisms, bio-moments, short essays...) that constitute Cioran's work and that mark its variations, appear to result from sloughing (multiple passages and displacement), so that the one who "sloughes" is never the same but does not fundamentally change.In this perspective, the writing of the fragment may not be a deficiency, a collapsing or a fetichism of the part, but rather a matter of instinct, of experimentation that (re)totalizes as it is been written...like a victory over time and death, like a moment of eternity, like a fragment-trophy.
5
Kok, Marina Susan. "An investigation of masculinity in J. M. Coetzee's disgrace (1999)." Thesis, Nelson Mandela Metropolitan University, 2008. http://hdl.handle.net/10948/783.
Full textAbstract:
The study of Masculinity is a fairly new phenomenon which developed as a refinement of gender studies. The theoretical frameworks on masculinity are still under development and are often severely contested. This study proposes to examine the dynamics of masculinity studies, critiquing the notion of ‘masculinity in crisis’. The premise of the masculinity in crisis debate is that men are experiencing an increasing sense of powerlessness. This dissertation aims to examine the masculine identities represented in Disgrace and to test whether they are better understood through the lens of masculine theory. The disgraceful situation of David Lurie is arguably not merely a result of hapless circumstance, but rather illustrates significant parallels with the crisis debate. The basic premise of this debate is that the behaviour previously condoned and applauded as healthy 'manliness' is now being labelled as anti-social and destructive. It is not just masculine roles that are under threat. Other forces behind the crisis are “the loss of masculine rights and changes in the pattern of employment” (Beynon 2002:75). One view held by theorists of masculinity studies is that for real change to occur, a fluid definition of masculine identity is needed. In J.M. Coetzee’s Disgrace (1999), the main protagonist is David Lurie. He may arguably be said to typify a masculinity that is in a state of crisis because of his stoic refusal throughout the novel to change or reform: “I was offered a compromise, which I would not accept”, he says, and: “Re-education. Reformation of the character. The code word was counselling” (1999:66). His aversion to such counselling and refusal to compromise mark his resistance to change.
6
Ezroura, Mohammed. "Criticism between scientificity and ideology : theoretical impasses in F.R. Leavis and P. Macherey." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/30697.
Full textAbstract:
While focussing on the metaphor of scientificity in Leavis's and Macherey's writings, this dissertation addresses other questions central to criticism, cultural theory, and the philosophy of science. Whereas Leavis opposes scientificity, Macherey proposes "scientific criticism" as imperative to theoretical practice. Between the two critics, scientificity reveals its major metamorphoses.
This study is divided into four major parts. Part One situates the concept of scientificity in the modern debate between critics and philosophers of science. I compare their problematization of scientificity to the way this notion has been represented in literary criticism. The debate blurs the boundary between scientific and literary knowledge, and brings the question of ideology in scientific discourse to the fore. Scientificity is thus bound with ideology as an epistemological practice.
Part two focusses on Leavis's rejection of scientificity. In three chapters here I investigate the significance of Leavis's definition of "organic culture," "civilization," "science," and "criticism." These are all
rooted in Arnold's cultural paradigm, which privileges a traditional order. Leavis's opposition to "theory," "science," and "philosophy" problematizes his principles of "precision," "analysis," and "standards." His controversies with CP. Snow's scientism and with Marxism reveal his concern with theory and scientific epistemology. His defence of "ambiguity," and "impossibility of definition" also makes his framework confront a theoretical impasse that is revealed by a desire to theorize criticism—Leavis's duty towards society— and a fear of theory and science, perceived as destructive.
Part Three, comprising three chapter, considers Macherey's scientific criticism. His notions of the "structure of absence" and "symptomatic reading" are central to his theorization of criticism, science, and ideology. These are formulated through Freud's categories of dream analysis, Saussure's notion of difference, and Althusser's conception of ideology. For Macherey, scientific criticism negates ideology. But his emphasis on "absence" as constitutive of scientificity brings his epistemology to a theoretical impasse that resembles Leavis's. Macherey's anchoring of meaning in economic structures, in ideology, and in Marxism as "science," problematizes his scientific project because it abandons "absence."
Part Four concludes the dissertation by investigating ways in which Leavis and Macherey illustrate the importance of an epistemological phenomenon in literary studies: criticism's struggle with scientificity. Whether opposed or defended, scientificity has helped criticism to emulate the hegemonic discourse of science and to combat rival critical strategies. However, to dispel "scientific" delusions, criticism must scrutinize its affiliation with ideology both in scientific method and in theory.Arts, Faculty of
English, Department of
Graduate
7
Tose, M. J. "Ubuchule bencoko yababini nesimbo sokubhala kwincwadi ka A.M. Mmango ethi, "Law' ilahle"." Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/621.
Full textAbstract:
Olu phando lugxile kakhulu kwincwadi ka-A.M. Mmango ethi, Law’ilahle. Apha sizama ukuveza ukubaluleka kobuchule bokubhala phakathi kwencoko yabantu ababini kubhalo lwemidlalo ngoovulindlela bedrama esiXhoseni. Oku kwenziwa ngokuthi kuphononongwe nzulu isimbo sokubhala. Ezinye izinto esiza kuziveza ziindlela zokuthetha ezithi zizesetyenziswe ngabalinganiswa. Oku kwenziwa ngokuthi kugxeleshwe kakhulu kumagama namaganyana adelelekileyo asetyeniswayo ngabalinganiswa ze kuthi kubuywe kukhangelwe nefuthe laloo magama kulwimi olusulungekileyo lwesiXhosa. Oku kukhokelela ekuphononongeni indlela ekuthi umbhali asebenzise ngayo isigama esivumelekileyo nesigama esithi sisetyenziswe esibangela ukuba umfundi lowo asebenzise ingqondo yakhe ukucinga ukuba kutheni umbhali etshintsha isigama kuloo ncoko ithile ayakhayo. U-A. M. Mmango usizobela asivezele kakuhle zonke izigaba ekufuneka zilandelwe xa sibhala uncwadi lwedrama. Uyaphumelele ke ukuziveza zonke ezi zinto ngenxa yeengxoxo azakhayo phakathi kwabalinganiswa. Ukuba sithelekisa uluncwadi lwedrama yale mihla luye lube nawo umahluko kuncwadi olwalubhalwe kuqala. Kananjalo, lo ka-Mmango usebenzisa uyilo lwengxoxo nocwangciso lwimi olululo ukwenzela ukuba umfundi lowo ofunda incwadi yakhe akwazi ukuwubona umahluko phakathi kwababhali bale mihla nabakudala. Esi simbo sikaMmango sokubhala asiwenzi umdintsi. Oku kuphawuleka ngamandla kwimixholwana esekeleze ululeko olungqongqo.
8
Ngqase, Fikiswa Freelance, P. T. Umdlanga Mtuze, B. B. Inzonzobila Mkonto, M. Indlal'inamanyala Lamati, and T. A. Inxeba Lenkosi Nami. "Indlela ababunjwe ngayo abafazi kwiincwadi zedrama ZesiXhosa." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52886.
Full textAbstract:
Text in Xhosa.Thesis (MA)--Stellenbosch University, 2002.
ENGLISH ABSTRACT: This study examines representations of women in four Xhosa drama books, thus aiming at highlighting the interplay between culture and women's social space. A comparative approach is used to review the ways in which the Xhosa dramatists under study characterise women.Some of these representations suggest that women have the capability to achieve personal transedence rather than accept the immanence imposed by stereotyped gender relationships. In these works, it is evident that writers can change the image of women by centralising them as active people who fight for their rights. THE ASSIGNMENT IS ARRANGED AS FOllOWS: CHAPTER 1 Introduces the aim, the scope, the theories and the methods of the study. CHAPTER 2 Deals with the development of plot and attention is paid to episodes in the four dramas. These episodes depict the different phases of the dramas. The dramas under study are evaluated critically by motivating their positive and negative aspects. CHAPTER3 Deals with woman as character in Xhosa dramas under study. A critical detailed analysis of the main woman character in each drama is undertaken. CHAPTER4 Presents depiction of Xhosa culture in the Xhosa dramas. CHAPTERS Summarises the findings of the study which is the representation of women in Xhosa drama books.
AFRIKAANSE OPSOMMING: Hierdie studie ondersoek voorstellings van vroue in vier Xhosa dramas met die doelom die interaksie te ontleed tussen kultuurverskynsels in die vrou se sosiale ruimte. 'n Vergelykende benadering word gevolg om 'n analise te doen van hoe die dramaturge wie se werke bestudeer word vroue karakteriseer. Sommige representasies van hierdie karakterisering dui aan dat vroue die vermoë het tot persoonlike transendensie, eerder as om die onmiddellikheid te aanvaar van gestereotipeerde genderverhoudings. In die dramas wat ondersoek is, blyk dit dat die skrywers in staat is om die beeld van vroue te verander deur hulle te sentraliseer as aktiewe mense wat veg vir hulle regte. Die werkstuk word as volg georganiseer: Hoofstuk Een gee 'n uiteensetting van die doelstelling, omvang, teoretiese raamwerk en metodes van die studie. Hoofstuk Twee ondersoek die ontwikkeling van intrige en 'n analise word gedoen van die episodes in die vier dramas. Hierdie episodes beeld die verskillende fases van die onderskeie dramas uit. Die dramas word krities ge-evalueer en hulle positiewe en negatiewe aspekte word behandel. Hoofstuk Drie ondersoek die vrou as karakter in die Xhosa dramas. 'n Gedetaileerde kritiese analise word onderneem van die hoof vroue karakter in elke drama. Hoofstuk Vier ondersoek die uitbeelding van kultuur in die onderskeie Xhosa dramas. Hoofstuk Vyf gee 'n opsomming van die hoofaspekte van ondersoek en die bevindinge van die studie.
9
Rey, Catherine. "La nouvelle Babel : langage, identite et morale dans les oevres de Emil Cioran, Milan Kundera et Andrei Makine." University of Western Australia. School of Humanities, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0051.
Full textAbstract:
The subject of this thesis is an examination of the acquisition in language of a new country for three Eastern European writers exiled in France. For such writers, art and life become inseparable: just as the experience of geographical displacement liberates the writer so it liberates his language. This new language becomes a field of experimentation, in which the conflicts that precipitated exile are resolved. Departure necessitates the abandonment of the mother tongue: for Cioran, Romanian; for Kundera, Czech; for Makine, Russian. For each of these three writers, studied in this thesis, the adoption of French as the language of literary expression was a decisive act. Geographically and spiritually he and his text are redefined. Separated from familiar landmarks, each finds a new terrain in the language of the creative text, a place, a private space, in which to express the realities of his new self. On the one hand this new paradigm is the expression of a rejection of a past and a tradition; on the other hand it is essential in the process of coming to self-understanding. For Cioran, Kundera and Makine the French language provides a foil to their own ruptured, fragmented, traumatised or guilt-ridden native identities. In each case the adoption of French with its concomitant stereotypical qualities and values constitutes a dialectical process of coming to a clearer sense of self.
10
Rozmovits, Linda 1959. "A.M. Klein and modernism." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=64004.
Full textBooks on the topic "M F A Criticism and interpretation"
1
Gómez, Eduardo. Ensayos de crítica interpretativa: T. Mann, M. Proust, F. Kafka. Bogotá, Colombia: Ediciones Tercer Mundo, 1987.
Find full text
2
Kondratʹev, B. S. O mifologizme F. M. Dostoevskogo: Ontologii͡a︡ i poėtika sna. Arzamas: Arzamasskiĭ gos. pedagog. in-t im. A.P. Gaĭdara, 2001.
Find full text
3
Freynik, Thomas. Die Todesproblematik im Schaffen von F. M. Dostoevskij. Hamburg: Kovač, 2000.
Find full text
4
Breuer, Marco. S M T W T F S. New York, N.Y: Roth Horowitz, 2002.
Find full text
5
O tvori︠a︡shcheĭ prirode slova. Ontologichnostʹ slova v tvorchestve F. M. Dostoevskogo kak osnova "realizma v vysshem smysle". Moskva: In-t mirovoĭ literatury RAN, 2004.
Find full text
6
Gómez, Eduardo. Ensayos de crítica interpretativa: T. Mann, M. Proust, F. Kafka, J.W. Goethe, y ensayo sobre la función social de la poesía. 2nd ed. Bogotá, D.C., Colombia: Universidad de los Andes, Facultad de Artes y Humanidades, Departamento de Humanidades y Literatura, Ediciones Uniandes, 2006.
Find full text
7
Ensayos de crítica interpretativa: T. Mann, M. Proust, F. Kafka, J.W. Goethe, y ensayo sobre la función social de la poesía. 2nd ed. Bogotá, D.C., Colombia: Universidad de los Andes, Facultad de Artes y Humanidades, Departamento de Humanidades y Literatura, Ediciones Uniandes, 2006.
Find full text
8
"Lazarʹ! grjadi von": Roman F. M. Dostoevskogo "Prestuplenie i nakazanie" v sovremennom pročtenii; kniga-kommentarij. Sankt-Peterburg: Izdat. "Serebrjanyj Vek", 2005.
Find full text
9
Neizvestnoe ob izvestnom: A. Pushkin, F. Dostoevskiĭ, M. Bulgakov, I︠U︡. Tyni︠a︡nov, I︠U︡. Olesha i drugie : zametki chitateli︠a︡. Ierusalim: Filobiblon, 2011.
Find full text
10
S, J. Llop. M. Malet. Barcelona: Gal Art, 1996.
Find full textBook chapters on the topic "M F A Criticism and interpretation"
1
Dergacheva, Irina V. "Notes from Underground in Italian Criticism." In “Notes from Underground” by F.M. Dostoevsky in the Culture of Europe and America, 349–60. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0668-0-349-360.
Full textAbstract:
S. Aloe described in detail the difficult process of Italian Slavists and writers’ exposure to the work of Dostoevsky, complicated for a number of years by the lack of translations of his works into Italian — readers could only have gotten acquainted with French translations [Aloe, 2013]. Of particular interest from the point of view of the reception of the ideological and artistic originality of Dostoevsky’s texts in Italy is the analysis of their interpretations by Italian criticism, which did not immediately adequately perceive the rich heritage of F. M. Dostoevsky’s artistic discourse, which characterizes Russian mentality and heavily influences public consciousness. The article presents stages of reception of Dostoevsky’s artistic heritage in Italy. Special attention is paid to the most popular text in terms of number of translations into Italian — Notes from Underground. The Appendix contains the texts of forewords by Armando Torno and E. Lo Gatto to the Italian edition of Notes from a Dead House and Notes from Underground [Dostoevskij, p. 5–17, 29].
2
"M." In Dictionary of Biblical Criticism and Interpretation, 224–47. Routledge, 2007. http://dx.doi.org/10.4324/9780203969755-20.
Full text
3
"F." In Dictionary of Biblical Criticism and Interpretation, 119–34. Routledge, 2007. http://dx.doi.org/10.4324/9780203969755-13.
Full text
4
"Culture, criticism and com m unal values: on the ethics o f enquiry." In Theorizing Culture: Critique, 23–58. Routledge, 2015. http://dx.doi.org/10.4324/9781315072401-9.
Full text
5
Kozlova, Marina A. "The Urban Text in F. M. Dostoevsky’s Notes from Underground and Belgian Symbolism (Emile Verhaeren, Georges Rodenbach)." In “Notes from Underground” by F.M. Dostoevsky in the Culture of Europe and America, 531–46. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0668-0-531-546.
Full textAbstract:
The paper examinates the peculiarities of the construction of urban text in Notes from Underground by F.M. Dostoevsky and the works of Belgian symbolists, Emile Verhaeren and Georges Rodenbach. The urban space in their literary works is looked as a reception object and is perceived as a model which is interpreted by the author within the framework of his own poetics and general literary context, while maintaining similar basic structures. In accordance with the oppositional model of “St. Petersburg’s” text elaborated by V.N. Toporov’s, we look through such aspects of urban space as: «life-death », «betweennessmarginality» and «high-low ». A category of «intentionality » («umyshlennost’ »), which is central in the urban text, is opposed to the freedom of the human will, is also investigated; a semantic parallel is established between the consciousness of the subject, a big city habitant, and the character of image of the space around him. The similarities in the interpretation of images and the above-mentioned oppositions are due to independent typological parallels, the commonality of the model of consciousness and urban space and, to a lesser extent, to contact and genetic connections related to common precedent texts and phenomena.
6
"Introduction." In Yeats, Philosophy, and the Occult, edited by Matthew Gibson. Liverpool University Press, 2017. http://dx.doi.org/10.5949/liverpool/9781942954255.003.0001.
Full textAbstract:
In this piece, the editors justify both the title of the book and the reason for the particular stance which the book takes. Recalling G. M. Harper’s seminal collection of essays from 1975, Yeats and the Occult, the editors note the rise of the importance of criticism which examines Yeats’s interactions with philosophy, the growth in the understanding of A Vision since the 1980s, and recent work on Yeats’s purely occult studies. The introduction also stressed the balance between Western and Eastern influences explored by the book’s contributors, and furthermore argues for the importance of understanding Yeats’s more esoteric side for improved interpretation of his poetry and plays, arguing against approaches that discount the content and background of poetic creation.
7
Sichkar, Alla, and Yana Matiushynets. "IDEAS OF THE SUBJECT-DEVELOPMENT ENVIRONMENT FOR CHILDREN IN THE UKRAINIAN PEDAGOGICAL DISCOURSE LATE 19TH – 20TH YEARS OF THE ХХ CENTURY." In Integration of traditional and innovative scientific researches: global trends and regional as. Publishing House “Baltija Publishing”, 2020. http://dx.doi.org/10.30525/978-9934-26-001-8-1-8.
Full textAbstract:
The article highlights the features of the development of ideas about a subject-developing environment for children of preschool and primary school age in the pedagogical thought of Ukraine and their transformation under the influence of socio-economic, political, ideological, pedagogical factors (late 19th - 20s of the 20th century) To achieve the goal, to solve the tasks set, a set of research methods was used, namely: historical and retrospective - in order to analyze the priority ideas of domestic teachers on the creation and functioning of a developing environment for children and their implementation into practice; constructive-genetic – for the analysis of goals, objectives, content-methodological support of the dynamics of ideas of a developing environment for children of preschool and primary school age; chronological – to establish the time boundaries of phenomena and processes; hermeneutic – for a new reading and commenting on historical and pedagogical texts; specific historical – for the purpose of analyzing documents on the development of preschool education and primary education in Ukraine in a certain chronological framework. On the basis of the historical and pedagogical analysis of archival documents, narrative sources, theoretical provisions have been determined that relate to the development of ideas about a subject-developing environment in educational institutions of Ukraine: key ideas, periodization and factors influencing their development have been identified; highlights the features of their interpretation by Ukrainian teachers in a certain chronological framework. The historical genesis of ideas about a subject-developing environment is associated with the formation of the theoretical and methodological foundations of preschool education and primary school under the influence of progressive European systems of education (F. Frebel, M. Montessori) and scientific achievements in the field of child anatomy, physiology, and psychology. It was found that the ideas of self-activity and creative self-realization, self-development of a child in a subject-developing environment, control of the process of self-development of a child by introducing him to various types of activities in an environment prepared by the educator remained relevant in a certain chronological framework of the study, but the means of their implementation changed under the influence of social economic, ideological, political factors. During the three socio-political milestones identified by us, namely: ideas about the developmental influence of environments for children (1871-1917); filling developing environments with national content in the years of the UPR (1917-1919); adaptation of the ideas of previous periods to class education (1920-1930), different, of the above factors were dominant and exercised a decisive influence on the formation of pedagogical theory and practice on the organization of a subject-developing environment for children of preschool and primary school age in educational institutions and in the conditions of family education of children in the Ukrainian territory.
Conference papers on the topic "M F A Criticism and interpretation"
1
Elamri, Samir, and Mimonitu Opuwari. "New Insights in the Evaluation of Reserves of Selected wells of the Pletmos Basin Offshore South Africa." In SPE/AAPG Africa Energy and Technology Conference. SPE, 2016. http://dx.doi.org/10.2118/afrc-2570854-ms.
Full textAbstract:
ABSTRACT The area evaluated has similar structural styles and settings as the producing neighboring fields of F-A and E-M in the adjacent Bredasdorp basin Offshore South Africa. The main objective of this study is to create a 3-D-static model and estimate hydrocarbon reserves. Based on log signatures, petrophysical properties and structural configurations, the reservoirs were divided vertically into three reservoir units in order to be properly modelled in 3-D space. The thicknesses of the layers were determined based on the vertical heterogeneity in the reservoir properties. Facies interpretation was performed based on log signatures, core description and previous geological studies. The volume of clay and porosity was used to classify facies into five units of sand, shaly sand, silt, and clay. From petrophysical interpretation, a synthetic permeability log was generated in the wells which ties closely with core data. The J-function water saturation model was adopted because it produced better results in the clean sandstone sections of the reservoirs. A high uncertainty in the basement formation was observed due to very few wells drilled in the area and fault impact and thus resulted in evaluation of uncertainty of each zone separately. The uncertainty workflow was run using 100 trials and the base case P50 estimated 277 Bcf of Gas from the 1At1.
2
Guseynov, Aleksandr, and Viktoriya Shipovskaya. "Development of scientific images about radicalization of protest activity of personality." In Safety psychology and psychological safety: problems of interaction between theorists and practitioners. «Publishing company «World of science», LLC, 2020. http://dx.doi.org/10.15862/53mnnpk20-02.
Full textAbstract:
The analysis of theories and models of radicalization existing in psychology and sociology is given. The complexity and transitivity of the world, the emerging methodological trends in psychology, the change of postmodern discourse to metamodernism require new psychological approaches to a research of this phenomenon, which can take into account the role of cultural factors and anthropological turn, as well as space and time as ontological constants of reality. Theoretical: theoretical and methodological analysis of scientific literature, comparison, generalization, interpretation. The paper summarizes a number of empirical studies of the authors related to the problems of extremism. The goal is to consider the evolution of ideas about the radicalization of protest activity and substantiate the high relevance of the subject-being approach to explain the problem of extremism. The authors distinguish six main theories and models that reveal the nature of radicalization: the theory of anomy (R. Merton), the theory of "relative deprivation" (T. Garr), the concept of an authoritarian personality (A. Adorno), a model of social identity in collective activity (M. Van Zomeren ), the model of radicalization (R. Borum), the model of radicalization (F. Mohaddam). The authors note the demand for a metamodern methodological strategy, which makes it possible to record personal transformations and construct new images of a person. The authors come to the conclusion that the substantive differences in approaches lie in the influence quantity of external determinants causing the emergence of radical attitudes. In the development of the theme of extremism, the main ones are the principle of the unity of the personality and its being, the methodological principle of subjectivity and the principle of uncertainty, which reveal additional nuances of the phenomenon that increases cognitive capabilities. The conditions of the subject-being approach are considered and the concept of protest activity is presented, based on the notions of "existential personal identity", "subjective activity", "subjectivity", revealing the reasons for negative transformation of personality, considering extremism as a violation of the developing configuration of identity. The subject-being approach to the personality is recognized as the most efficient theoretical and methodological basis for researching this problem, since it allows us to overcome the deficiency of the content given by the deterministic interpretation of radicalization.
3
Shmidt, I. "CHERNOOZERSKY ORNAMENTAL MOTIF IN THE PERSPECTIVE OF SEMIOTIC RESEARCH." In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.30-31.
Full textAbstract:
A thing made by man is a kind of coded message about him, the group which he lives in, and a thesis expression of their views on the world. According to the fair remark of Lotman, any such message is reasonable to perceive as superlingual organization (Lotman, 2004). It makes the reading of these messages a complicated process. We face texts that are not based on linguistic principles. If the archaeologist-interpreter expands the methodological horizon of the analysis to the level of semiot-ics, the objects-texts can demonstrate their linguistic specific. This is especially felt when working with paleo-ornaments. The corpus of sources characterizing the Chernoozersky ornamental tradition of the Paleolithic finale in the South of Western Siberia was formed in 19701972 (Gening, Petrin, 1985 Petrin, 1986). Attention to them declined significantly after the first presentations and further to the mid-80s. Much later attempts were made to semantic interpretation of the Chernoozersky dagger ornament in the key of paleocalendaristics (Shmidt, 2004 2005). The work in this direction had to be stopped due to the awareness of the complexity of the code and, despite the existing methods of verification, the lack of confidence in its relevance. At the moment, research is being conducted on the analysis of the collection objects, but in a broader semiotic way, focusing not on their content (which is the purpose of semantics), but on the order and features of the reading of these texts. The preliminary results of the research actualize the arguments about the intercultural (intergroup) dialogues of those distant times, the contextuality of the birth and the genesis of ornaments, to identify their territorial and local variability (Shmidt, 2017a 2017b). Lotman, Ju. M. (2004). Semiosfera. SPb.: Iskusstvo-SPB . Gening, V. F., Petrin, V. T. (1985). Pozdnepaleoliticheskaja jepoha na juge Zapadnoj Sibiri. Novosibirsk: Nauka. Petrin, V. T. (1986). Paleoliticheskie pamjatniki Zapadno-Sibirskoj ravniny. Novosibirsk: Nauka. Shmidt, I. V. (2004). Predvaritelnoe soobshhenie ob informacionnyh vozmozhnostjah ornamenta chernoozerskogo kinzhala. In Shestye istoricheskie chtenija pamjati M.P. Grjaznova. Materialy vserossijskoj nauchnoj konferencii (pp. 152156). Omsk: OmGU. Ob informacionnom haraktere Chernoozerskogo ornamentа (na primere analiza zapisej kinzhala). Izvestija OGIK muzeja, Vyp. 11, 98105. Shmidt, I. V. (2017a). The chernoozersky ornamental pattern: Reconstruction of evolution. In Program of international Workshop and Conference Great shigir idol in the context of North Eurasia stone age art. Ekaterinburg, June 1216, 2017 (pp. 4344). Ekaterinburg. Shmidt, I. V. (2017b). Paleolithic ornaments of North Asia: Notes on iconography research. Universum Humanitarium, 2, 4555.
4
Мир-Багирзаде, Ф. А. "Oriental symbolism of the ballet "Seven beauties" based on the poem by Nizami Ganjavi." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.91.54.086.
Full textAbstract:
автор исследует творческие интерпретации произведения поэта-гуманиста Низами Гянджеви (XII в.) из цикла «Хамсе» «Семь красавиц». Поэт, был подлинным эрудитом, знатоком не только коранических текстов, истории, античной и мусульманской философии, но и астрономии. Данная статья – попытка проследить ориентальную символику образов Гянджеви в одной из творческих интерпретаций поэмы «Семь красавиц», через призму хореографического и сценографического искусства. Метод исследования – семиотический анализ, объект исследования – балет «Семь красавиц», объединивший достижения современной европейской хореографии и средневековую восточную поэзию с присущей ей образностью, поставленный на музыку азербайджанского композитора Кары Караева. Композитор К. Караев активно использовал самобытные музыкальные традиции Азербайджана (музыкальные гармонии, мелодика ашугов и элементы народных азербайджанских ладов), сочетая их с европейскими мелодиями и ритмами. Анализируя фильм-балет «Семь красавиц» (1982, режиссер Федор Слидовкер) и новую постановку театра оперы и балета им. М.Ф. Ахундова (2011), автор прослеживает трансформацию либретто и предлагает собственное прочтение символики метафоричного произведения классика Низами Гянджеви. Поиски истины, красоты и справедливости всегда были уделом мыслящего человека. Восточные поэты воспевали этот поиск, этот долгий и трудный путь к истине, идеальному миру. Придворные интриги, роскошь дворца и повседневная жизнь простого народа, благородство, коварство и любовь переплелись в этой метафоричной восточной притче, которая легла в основу нескольких интерпретаций балета «Семь красавиц». Несмотря на большую степень условности, свойственной этому жанру сценического искусства, фильм-балет характеризуется драматургической многоплановостью, органическим сплетением развивающихся сюжетных линий, динамической взаимосвязью социального и лирико-психологического конфликтов. Трансформация либретто балета «Семь красавиц» свидетельствует о новом, более глубоком прочтении, приближению его к идейно-философской метафоричной концепции оригинальной поэмы Низами Гянджеви, воспетому поэтом вечному поиску истины, любви и справедливости со свойственной ему ориентальной образностью. the author explores creative interpretations of the work of the humanist poet Nizami Ganjavi (XII century) from the cycle "Khamse" – "Seven beauties". The poet was a true polymath, an expert not only in Quranic texts, history, ancient and Muslim philosophy, but also in astronomy. This article is an attempt to trace the Oriental symbolism of Ganjavi's images in one of the creative interpretations of the poem "Seven beauties", through the prism of choreographic and scenographic art. The method of research is semiotic analysis, the object of research is the ballet "Seven beauties", which combines the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of the Azerbaijani composer Gara Garayev. The composer G. Garayev actively used the original musical traditions of Azerbaijan (musical harmonies, melodies of ashugs and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet "Seven beauties" (1982, directed by Fyodor Slidovker) and the new production of the Opera and ballet theater named after M. F. Akhundov (2011), the author traces the transformation of the libretto and offers his own interpretation of the symbolism of the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been the province of the thinking man. Eastern poets sang of this search, this long and difficult path to the truth, the ideal world. Court intrigues, the luxury of the Palace and the daily life of the common people, nobility, guile and love are intertwined in this metaphorical Eastern parable, which formed the basis of several interpretations of the ballet "Seven beauties". Despite the great degree of conventionality inherent in this genre of stage art, the film-ballet is characterized by a dramatic diversity, an organic interweaving of developing storylines, and a dynamic relationship between social and lyrical-psychological conflicts. The transformation of the libretto of the ballet "Seven beauties" indicates a new, deeper reading, approaching it to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, the poet's eternal search for truth, love and justice with its characteristic Oriental imagery.
Reports on the topic "M F A Criticism and interpretation"
1
AKHADOVA, R. A., and M. L. SHTUKKERT. ‘THE DREAM OF A RIDICULOUS MAN’ F.M. DOSTOEVSKY AND A. PETROV: POETICS OF THE FEAR. Science and Innovation Center Publishing House, 2021. http://dx.doi.org/10.12731/978-0-615-67323-3-8-21.
Full textAbstract:
The purpose of the study is to determine the features of the structure and functioning of the fear motive in F.M. Dostoevsky’s “fantastic story” “The Dream of a Ridiculous Man” and in A. Petrov’s cartoon of the same name. The report first examines the images, details, etc., with which the fear motive is created in the story, and then analyzes the ways of embodying this motive and transmitting a certain frightening atmosphere in the cinema. There is revealed and determined the ontological significance and the main character of fear in the “The Dream of a Ridiculous Man”, which, in our opinion, manifests itself in the fundamental nature and primacy of this feeling in human nature. It can be observed in the transition from the dream world, not defiled by the fall, to the terrible reality of St. Petersburg, described in the story. The scientific novelty lies in the fact that a comprehensive analysis of the fear motive in the story of F. M. Dostoevsky and the peculiarities of the interpretation of this motive in the animated film by A. Petrov has not been carried out before. The study revealed, firstly, a number of repetitive means by which the fear motive is formed in both works (and their functions were determined), and secondly, there was noted the originality of the representation of the analyzed motive in the cinema.