Journal articles on the topic 'M F A Criticism and interpretation'
To see the other types of publications on this topic, follow the link: M F A Criticism and interpretation.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research 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.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
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.
11
Kachorovskaya, A. E. "On the Reception of the Myth of Prometheus in Austrian Literature of 19th-20th Centuries." Nauchnyi dialog, no. 3 (March 30, 2020): 221–35. http://dx.doi.org/10.24224/2227-1295-2020-3-221-235.
Full textAbstract:
This article focuses its attention on the motive of resistance characteristic of Austrian literature of the 19th - 20th centuries, which is considered from the point of view of the historical and literary relationship with the myth of Prometheus. The history of the issue is reviewed. A selective analysis of the versions of the Promethean myth in the Austrian historical and literary context of the 19th-20th centuries, which is part of the pan-European literary and philosophical heritage, is given. The stylistic and genre originality of Austrian interpretations of the myth of Prometheus is proved on the basis of a study of a number of works. The artistic reception of the image of Prometheus in the poem by Z. Lipiner "Liberated Prometheus", little studied in Russian literary criticism is considered in the article. Attention is paid to the version of the Promethean myth in the literature of Austrian Art Nouveau (on the example of F. Kafka's little prose). The issue of conflicting trends in the development of Austrian literature of the 20th century, affecting the interaction of the motive of resistance with the Promethean myth, is investigated by the example of M. Gruber's essay. The correlation of the Austrian versions of the motive of resistance with the myth of Prometheus is proved. The results of the study confirm the significance of the Promethean myth in the Austrian reception of the 19th-20th centuries, which has more pronounced features of drama and theatricality in relation to the European context.
12
Serdiuk, O. V. "Maria Szymanowska as a recital pianist‑composer of the Romantic epoch." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 180–94. http://dx.doi.org/10.34064/khnum2-17.12.
Full textAbstract:
Вackground. The composer creativity of the talented Polish pianist Maria Szymanowska, her concert activity was arousing an exceptional interest among the public in the 1920s. However, shortly after her death, she was undeservedly forgotten for a long time. At the end of the XX – beginning of the XXI centuries a revival of interest in her work is observed. Her works are increasingly performed by contemporary musicians, and not only Polish (among them, for example, the Dutch pianist Bart van Oort is); international scientific symposiums are devoted to her creativity – in particular, in November 2015, the Сonference was held in Paris on the works by M. Szymanowska. In 2019, in connection with the 230th anniversary of this outstanding Polish artist, the Polish Sejm declared the year of Maria Szymanowska. The time distance between the eras and the change in cultural paradigms that has occurred today, prompt to rethink approaches to various cultural-forming activity in past eras, in particular, in the first half of the 19th century, to evaluate them from the standpoint of the modern creative thought. Indeed, the problems of choosing between universalism and specialization, of the search for effective means of artistic communication, the freedom of interpretation of the author’s text, with which M. Szymanowska has be faced, remain relevant and for modern cultural figures. In Ukraine, a steady interest in the music of M. Szymanowska, as well as the desire of scientists to study her works, has not yet been observed. The separate steps have been taken in this direction – for example, the publication of Maria Yanyshyn (2016), who is trying to explore some aspects of the creative work of the Polish artist, relying on modern methodological tools. Oddly enough, the concert activity of M. Szymanowska in Ukrainian cultural centers is also ignored: local historians did not publish a single critic review of her performances, although not only the Polish pianist was participating in such concerts, but also the local musicians. At one time, the example of such careful archival work was demonstrated by I. Belza (1956), who analyzed the newspaper reviews that were printed primarily in Moscow and St. Petersburg, and the correspondence of the figures of Russian culture, in which he found the references to M. Szymanowska and published them in his monograph. The present article intends to designate a corpus of problematic issues rather than thoroughly solve them. It cannot be said that and Polish scientists today made significant progress in their resolution, although Renata Suhovejko (2012) and others (Slavomir Dobzansky, Maria Stolarzhevich) touch on certain aspects Maria Szymanowska’s creative activity in their articles. The purpose of this article is to reveal the features of M. Szymanowska’s creative approaches to piano (concert) performing and composer activity, which are the object of this study. The subject of the study is the features of cultural arising, of the formation of creative attitudes and the principles of artistic activity, of the means of cultural communication and artistic interpretation of M. Szymanowska. The results of the study. The scientific novelty of the study is to identify little-known facts of Maria Szymanowska’s creative biography and their new interpretation, to form new ideas about the specifics of her creative methods in both piano and composer works. The important role of self-education in her creative development and the ability to self-development are emphasized, as well as the conscious cultural universalism, the penchant for innovation (for example, the introduction to concert practice of playing without the notes – from memory, playing in “three hands”, the rapid formation of playing skills on various types of instruments). Attention is focused on conflicting moments of the approach to the interpretation of copyright texts (for example, the frequent use of cuts). The comparative characteristics of pianism and individual creative methods of Maria Szymanowska and Clara Schumann also give in the article. Perhaps the most important difference between Clara Schumann and Maria Szymanowska was laying in their relation to the mission of the performer. Clara Schumann was among the first artists in the history of pianism who acted as a fairly strict “intermediary”, subordinated to the composer “guide” of his musical ideas to the listener. M. Szymanowska asserted the right of a performer to greater creative independence, taking the same position that, in essence, F. Liszt defended. At the same time, individual reading of the text, personal attitude to the work was important for both pianists. Emotional openness, lyricism and poetry, sincere performance, melodious full-blooded sound, large scale of the playing, ardent temperament, and a tendency to improvisation were distinguished the both from a number of pianists of the academic direction. Rationalistically verified approaches of M. Szymanowska to the organization of information support of her concert activity are determined, based on three communicative levels: there are friendship, professional contacts and short-term acquaintances. These communicative spheres realize in such directions of activity as maintenance of the albums of autographs, preparation and sending the letters of recommendation, establishing the contacts with the press, and the use of musical criticism. The latter becomes an instrument for the formation of an artistic myth that mobilizes the audience. The study also reveals, through which Ukrainian cities went along the route of the concert tours of the Polish pianist (Kiev, Tulchin, Zhytomyr, Dubno, Kremenets, Lviv and Vinnitsa). The success of the tour, confirmed by the press, proved the high competitive ability of M. Szymanowska in the European concert market, and the proficiency to offer an original creative product ensured a stable interest to her of the audience. Сonclusions. Using the example of M. Szymanowska’s creative biography, it is proved that on the basis of the growth of the personality’s cultural potential, the process of self-development, self-education acquires a conscious and focused character and contributes to the artist’s creative productivity. In a situation of the choice between specialization and universalism, M. Szymanowska demonstrates a penchant for creative universality. Her intensive performing and composing activities are marked by the search for effective means of artistic communication, by innovativeness, creativeness, emotional openness, freedom of interpretation of the musical text.
13
Wang, Wenrui. "The Ways that Digital Technologies Inform Visitor's Engagement with Cultural Heritage Sites: Informal Learning in the Digital Era." GATR Global Journal of Business Social Sciences Review 10, no. 4 (December 30, 2022): 237–48. http://dx.doi.org/10.35609/gjbssr.2022.10.4(3).
Full textAbstract:
1. Alivizatou, M. (2019). Digital intangible heritage: Inventories, virtual learning and participation. Heritage & Society, 12(2–3), 116–135. 2. Billett, S. (2009). Conceptualizing learning experiences: Contributions and mediations of the social, personal, and brute. Mind, Culture, and Activity, 16(1), 32–47. 3. Bonilla, C. M. (2014). Racial Counternarratives and L atina Epistemologies in Relational Organizing. Anthropology & Education Quarterly, 45(4), 391–408. 4. Britain, T. (2007). How We Are: Photographing Britain. 5. Brodie, R. J., Hollebeek, L. D., Jurić, B., & Ilić, A. (2011). Customer Engagement: Conceptual Domain, Fundamental Propositions, and Implications for Research. Journal of Service Research, 14(3), 252–271. https://doi.org/10.1177/1094670511411703 6. Budge, K. (2017). Objects in focus: Museum visitors and Instagram. Curator: The Museum Journal, 60(1), 67–85. 7. Budge, K., & Burness, A. (2018). Museum objects and Instagram: agency and communication in digital engagement. Continuum, 32(2), 137–150. 8. Callanan, M. A., & Oakes, L. M. (1992). Preschoolers’ questions and parents’ explanations: Causal thinking in everyday activity. Cognitive Development, 7(2), 213–233. 9. Callanan, M., Cervantes, C., & Loomis, M. (2011). Informal learning. Wiley Interdisciplinary Reviews: Cognitive Science, 2(6), 646–655. 10. Cameron, F. (2003). Digital Futures I: Museum collections, digital technologies, and the cultural construction of knowledge. Curator: The Museum Journal, 46(3), 325–340. 11. Cokley, J., Gilbert, L., Jovic, L., & Hanrick, P. (2016). Growth of ‘Long Tail’in Australian journalism supports new engaging approach to audiences. Continuum, 30(1), 58–74. 12. Cole, M., & Consortium, D. L. (2006). The fifth dimension: An after-school program built on diversity. Russell Sage Foundation. 13. European Commission. (2015). i-Treasures: intangible cultural heritage of the past available through advanced modern technologies. 14. Fitts, S., & McClure, G. (2015). Building Social Capital in Hightown: The Role of Confianza in L atina Immigrants’ Social Networks in the New South. Anthropology & Education Quarterly, 46(3), 295–311. 15. Francesca, P. (2017). Final Report on User Requirements: Identification and Analysis. 16. Gade, R. (2009). Event Culture - The Museum and Its Staging (Kopenhagen, 6-7 Nov 09). 17. Gibbert, M., Ruigrok, W., & Wicki, B. (2008). What passes as a rigorous case study? Strategic Management Journal, 29(13), 1465–1474. 18. Gillard, P. (2002). Cruising through history wired. Museums and the Web 2002. 19. Goodwin, M. H. (1990). He-said-she-said: Talk as social organization among black children (Vol. 618). Indiana University Press. 20. Hamma, K. (2004). The role of museums in online teaching, learning, and research. First Monday. 21. Henchman, M. (2000). Bringing the object to the viewer: Multimedia techniques for the scientific study of art. 22. Herrgott, C. (2016). Cantu in paghjella: Patrimoine Culturel Immatériel et nouvelles technologies dans le projet I-Treasures. Port Acadie: Revue Interdisciplinaire En Études Acadiennes/Port Acadie: An Interdisciplinary Review in Acadian Studies, 30, 91–113. 23. Howell, R., & Chilcott, M. (2013). A sense of place: re-purposing and impacting historical research evidence through digital heritage and interpretation practice. International Journal of Intangible Heritage, 8, 165–177. 24. King, L., Stark, J. F., & Cooke, P. (2016). Experiencing the digital world: The cultural value of digital engagement with heritage. Heritage & Society, 9(1), 76–101. 25. Lomb, N. (2009). Dip circle used to study the earth’s magnetic field at Parramatta Observatory. 26. Majors, Y. J. (2015). Shoptalk: Lessons in teaching from an African American hair salon. Teachers College Press. 27. Marty, P. F. (2008). Museum websites and museum visitors: digital museum resources and their use. Museum Management and Curatorship, 23(1), 81–99. 28. Moqtaderi, H. (2019). Citizen curators: Crowdsourcing to bridge the academic/public divide. University Museums and Collections Journal, 11(2), 204–210. 29. Müller, K. (2013). Museums and virtuality. In Museums in a digital age (pp. 295–305). Routledge. 30. Nasir, N. S., Rosebery, A. S., Warren, B., & Lee, C. D. (2006). Learning as a cultural process: Achieving equity through diversity. 31. O’Brien, H. L., & Toms, E. G. (2008). What is user engagement? A conceptual framework for defining user engagement with technology. Journal of the American Society for Information Science and Technology, 59(6), 938–955. 32. O’Neill, R. (2017). The Rise of the Citizen Curator: Participation as Curation on the Web. University of Hull. 33. Opie, I., & Opie, P. (2000). The lore and language of schoolchildren. New York Review of Books. 34. Pallud, J. (2017). Impact of interactive technologies on stimulating learning experiences in a museum. Information & Management, 54(4), 465–478. 35. Pallud, J., & Straub, D. W. (2014). Effective website design for experience-influenced environments: The case of high culture museums. Information & Management, 51(3), 359–373. 36. Pozzi, F. (2017). Final Report on User Requirements: Identification and Analysis. Unpublished I-Treasures Project Report. 37. Proctor, N. (2010). Digital: Museum as platform, curator as champion, in the age of social media. Curator: The Museum Journal, 53(1), 35. 38. Rogoff, B., Callanan, M., Gutiérrez, K. D., & Erickson, F. (2016). The organization of informal learning. Review of Research in Education, 40(1), 356–401. 39. Schugurensky, D. (2000). The forms of informal learning: Towards a conceptualization of the field. 40. Scribner, S., & Cole, M. (1973). Cognitive Consequences of Formal and Informal Education: New accommodations are needed between school-based learning and learning experiences of everyday life. Science, 182(4112), 553–559. 41. Song, M., Elias, T., Martinovic, I., Mueller-Wittig, W., & Chan, T. K. Y. (2004). Digital heritage application as an edutainment tool. Proceedings of the 2004 ACM SIGGRAPH International Conference on Virtual Reality Continuum and Its Applications in Industry, 163–167. 42. Taheri, B., Jafari, A., & O’Gorman, K. (2014). Keeping your audience: Presenting a visitor engagement scale. Tourism Management, 42, 321–329. 43. Tan, B.-K., & Rahaman, H. (2009). Virtual heritage: Reality and criticism. 44. Tarlowski, A. (2006). If it’s an animal it has axons: Experience and culture in preschool children’s reasoning about animates. Cognitive Development, 21(3), 249–265. 45. Tate. (2007). How We Are Now at Tate Britain Museum. 46. Taylor, J., & Gibson, L. K. (2017). Digitisation, digital interaction and social media: embedded barriers to democratic heritage. International Journal of Heritage Studies, 23(5), 408–420. 47. UNESCO. (2011). What is Intangible Cultural Heritage? 48. Vygotsky, L. S. (2012). Thought and language. MIT press. 49. Wenger-Trayner, E., Wenger-Trayner, B., & W.-T. (2015). Communities of practice: A brief introduction. 50. Wenger, E. (1999). Communities of practice: Learning, meaning, and identity. Cambridge university press. 51. Yin, R. K. (2009). Case study research: Design and methods (Vol. 5). sage.
14
Leatherbarrow, W. J., and Victor Terras. "F. M. Dostoevsky: Life, Work, and Criticism." Modern Language Review 80, no. 1 (January 1985): 249. http://dx.doi.org/10.2307/3729478.
Full text
15
Pachmuss, Temira, and Victor Terras. "F. M. Dostoevsky: Life, Work, and Criticism." Slavic and East European Journal 29, no. 1 (1985): 104. http://dx.doi.org/10.2307/307934.
Full text
16
Mažeikis, Gintautas. "E. GENDROLIO BENDRUOMENINĖS ŽMOGAUS RAIDOS TEORIJA." Problemos 75 (January 1, 2008): 27–47. http://dx.doi.org/10.15388/problemos.2008.0.1998.
Full textAbstract:
Straipsnyje analizuojami filosofo ir antropologo Edmundo Gendrolio (1938–1994) filosofiniai ntropologiniai samprotavimai apie žmogaus savivokos, save suvokiančio mąstymo raidą. Gendrolis nuosekliai rėmėsi socialinės ir kultūrinės antropologijos teorijomis, empiriniais paleoantropologijos tyrinėjimais, etologijos prielaidomis. Straipsnio tikslas yra parodyti Gendrolio filosofinių antropologinių samprotavimų pecifiškumą, išskiriant jo bendruomeninės abstraktaus mąstymo kilmės teoriją, pabrėžiant solidarumo ir kultūros tvermės formų svarbą žmogaus raidai nuo seniausių Homo erectus laikų. Straipsnyje parodoma, kad Gendrolis nuosaikiai kritikavo marksistinę darbo teoriją, zoologinį individualizmą, linijinį evoliucionizmą, filosofinės antropologijos spekuliatyvumą, ir tvirtinama, kad jis savitai, dialektiškai plėtojo neoevoliucionizmo teorijas, papildytas F. Boaso teorinėmis prielaidomis. Gendrolis atskirai išskyrė istoriškumo bei evoliucijos daugialinijiškumo teorijas, tokiu būdu siekdamas suformuoti savitą sociokultūrinės antropologijos metodologiją ir pasipriešinti unifikaciniam europocentrizmui bei kolonializmui. Pagrindiniai žodžiai: filosofinė antropologija, sociokultūrinė antropologija, neoevoliucionizmas, bendruomeniškumas, darbas, zoologinis individualizmas.E. Gendrolis’ Theory of Communitarian Development of the Human BeingGintautas Mažeikis SummaryConsiderations of philosopher and social anthropologists Edmundas Gendrolis (1938–1994) about selfimagination and self-understanding of human beings from the point of social and cultural anthropology and paleoanthropology are analyzed. Gendrolis supported his considerations by theories and ethodologies, researches of social and cultural anthropology, paleoanthropology, ethology, Marxist philosophy. The aim of the article is to show the specificity of his philosophical anthropological considerations, especially of theory of communitarian ideation, development of conscious solidarity, cultural continuity from the time of Homo erectus. The article shows that Gendrolis moderately criticized the Marxist theory of work, zoological individualism, linear evolutionarism, Eurocentrism, racism and cultural segregation. He tried to resist the colonial and neocolonial tendencies in anthropological discourses and to support common po stcolonial attitudes to the history of tribes and small nations. On the contrary, he developed ideas of F. Boas, multilinear cultural Evolutionarism, ideas of L. A. White, M. Sahlins, E. R. Service and the dialectical approach to the complexity of issues of the human being. Such issues are morphological changes of paleoanthropos and neoanthropos, domestic life and household, exogamy and taboo, totems and early forms of faith, tools of the work and art pictures. He tried to develop the humanistic approach to the Homo erectus and Neanderthals as the basis for the future humanistic interpretation of traditional tribes and small nations. Such considerations corresponded to the Lithuanian world conception and to the attempts to liberate themselves from the Soviet occupation and Soviet cultural hegemony. He maintained the main subject of self-comprehending thinking to be community and its skills of cooperation and ideation. Ideation is the process of forming and relating ideas, images and ideals. The process of ideation, the making of abstract solutions and conceptual memory depends on community network, trust, solidarity that could be supported by common rituals, games, art, by the process of education of children. Ideation influenced the skills of hunters, pickers, formed wedding rules, trade among the modern Homini sapiens. And vice versa: all human activities supported and developed the process of abstract thinking and collective ideation. The integral approach to the issues of human being and the theory of multilinear evolution of them became the basis for criticism of Marxist anthropology. He criticized Marxism as well as social Darwinism and any other evolutionism as too much teleological, deterministic and dogmatic theories. His other critical point is about zoological individualism which accumulates a lot of negative interpretations of savages and provides cultural aggression. However, Gendrolis stayed alone from the European social or cultural anthropological movement, and his very large and quite deep considerations didn’t become the beginning of the institutional development of social or cultural anthropological studines in Lithuania. He developed a very little dialog with local ethnologists, and it was the reason for narrow interpretations of his theories. However, his books, articles and ideas are interesting and actual for modern social and philosophical anthropologists.
17
Galytska, Iuliia. "Alias in women's literature: feminist aspects in a gender context." Grani 23, no. 4 (July 5, 2020): 28–35. http://dx.doi.org/10.15421/172038.
Full textAbstract:
The problem of the identity of the woman hiding her gender under a male pseudonym makes us recollect U. Eco’s arguments about the truth and the purpose of literature as well as A. F. Losev’s ideas about the name and the meaning, the theories of the feminist literary critics K. Millett, M. Ellman, T. Moi, E. Showalter, etc. who have presented "women`s writing" and "writing about women" in the feminist field. As one of the central principles of feminist criticism is that no scientific view can ever be neutral, the problem of pseudonyms occupies an important place in the contemporary gender studies, explicitly or implicitly highlighting the artificially constructed debate, which divides "serious male literature" and "superficial and secondary female writing". On the one hand, this is the problem of feminism itself, on the other, it is a question of the role and place of the woman in the world` culture and history. In this kind of the analysis we cannot ignore such an epiphenomenon of postmodernism as "label change" with the postmodern emphasis on the sociocultural role of the context, which is especially relevant in aspects of the gender "name problem". The last one, undoubtedly, is included in the problematization of postmodern culture on the whole, since all cultural narratives have always been gender "stories". Today an individual construct his or her gender-reflecting reality, still the modelling of the new gender system is far from being complete. The created sign systems are ambivalent, the meanings are very unstable and can easily be hermeneutically interpreted. However, the role of hermeneutics in analyzing the relationship between the author and the sociocultural context is in the core of the gender aspects of literature, in general, and in the problems of the pseudonym as a change of "name", in particular. The latter is by all means relevant and important. Undoubtedly, one of the main incentives for feminist scholars in their turn to women's literature is connected with the patriarchal demand for women's "silence", their "dumbness" in culture and, accordingly, in literature. Obviously, there are two main interpretations of the concept of "female literature" in feminist criticism. The first one is the representation of female subjectivity in its difference from the male one. The second approach is the representation of "non-essentialist" female subjectivity, which is understood as the logical structure of the difference. In general, in the patriarchal dichotomy of the femininity and masculinity "women who write" are always dangerous. "Three strange sisters" – Anne, Charlotte and Emily Bronte wrote their novels under disguise of male pen names, exactly specifying two conceptual motives: the "Other" concept and the image of "Veil". In this context the motive of androgyny is also important from the point of view of both analysis and literary criticism. In ХIXth century George Sand (Aurora Dupin), having most vividly represented this concept, became an example for many subsequent generations of feminists – writers, actresses and media representatives. However, in our era of gender plurality, the question of the pseudonym as a problem of "genders" is not so relevant; more likely it is still a question of the priorities in the feminist theory. In the contemporary discourse of literary criticism many of the author’s socially significant features are perceived as gender neutral. In the postmodern paradigm the question of the androgynous identity of the man/woman writer requires its further actualization as the androgynous is often replaced by the bisexuality (J. Irving` "In One Person"). In general, it should be recognized that postmodern approaches to gender identity, which paint a "picture of the world" today, transform the female experience of being as the "Other", secondary and insignificant with a conceptual orientation to a fundamental variety of postmodern cognitive perspectives.
18
Reyzenkind, T. Y. "FORMATION OF ARTISTIC CONCEPTS AS CONDITION OF TEACHER PROFESSIONAL TRAINING ARTISTIC DISCIPLINES." Educational Dimension 14 (May 26, 2022): 209–27. http://dx.doi.org/10.31812/educdim.5698.
Full textAbstract:
In article the opportunity of interpretation of the contents of art criticism concepts is analyzed' their structural components are allocated, attempt to extrapolate components of modern information technologies in formation of art criticism concepts of the teacher o f arts is made.
19
Orlova, Ekaterina Iosifovna. "RUSSIAN CRITICISM AS A CULTURAL PHENOMENON." Russkaya literatura 2 (2021): 254–55. http://dx.doi.org/10.31860/0131-6095-2021-2-254-255.
Full text
20
Telizhenko, S. A. "MATERIALS FROM RESEARCH OF O. G. SHAPOSHNIKOVA AND D. YA. TELEHIN IN THE STAROBILSK DISTRICT, LUHANSK REGION." Archaeology and Early History of Ukraine 37, no. 4 (December 23, 2020): 52–74. http://dx.doi.org/10.37445/adiu.2020.04.04.
Full textAbstract:
In 2016 during the inventory and transportation of the archaeological finds from temporary archaeological storage at Pheophania to the present-day storage facility of the Institute of Archaeology, the materials of the excavations of the expeditions of 1980 and 1985 were selected and processed. The excavations and surveys were conducted by expeditions under the lead of O. G. Shaposhnikova and D. Ya. Telehin on the territory of the Starobilsk district of the Luhansk region. The surveys in 1980 were conducted at only two locations located close to each other — the settlements of Aidar-Bila and Pidhorivka.
Aydar-Bila. Because the location plan is missing (it is also missing from the 1986 report), it was not possible to locate the settlement on the map. However, it can be assumed that the multilayered settlement of Aydar-Bila is located in the eastern part of the village Pidhorivka of the Starobilsk district of the Lugansk region, on the low floodplain terrace of the right bank of the river Bila (the right tributary of the Aydar river). At the location of the settlement, the width of the valley of both rivers is 2.23 km. In 1986, additional research was conducted and the site was named Hyrlo Biloyi. In fact, this name is more common and widely used in the scientific literature. The settlement is multilayered, as indicated by the code on the finds. The largest number of finds is associated with layer 4. Given the vertical distribution of the finds, it can be assumed that there are at least three episodes of occupation in the history of the settlement, two of which, given the peculiarities of the finds, occurred in the Neolithic Period and one in the Late Bronze Age.
Pidhorivka. The multilayered settlement of Pidhorivka is located on the off-shore terrace of the right bank of the Aydar River, at the point where the coast recedes to the west, thus forming a sufficiently wide floodplain, on which the depressions of the old-aged lakes are noticeable. In total, about 10 different settlements were found within the specified floodplain, 5 of which are known from the research of S. O. Loktushev in 1939. In 1963, the Pidhorivka settlement was investigated by V. M. Gladilin, however, no report or publication on the results of the research appeared, as correctly pointed out by Y. G. Gurin in 1998. It is only known that the expedition V. M. Gladilin cleaned up the coastline of the Aydar River, where the Neolithic materials were discovered. Some findings revealed by the expedition led by V. M. Gladilin appear in the monograph V. M. Danilenko as an example of the material culture of the Azov culture he identified. In 1980, the expedition of the Academy of Sciences of the USSR under the direction of O. G. Shaposhnikova laid out an excavation area on the Pidhorivka settlement. The results of these studies are unknown (missing report, field documentation, and findings). In the same year an expedition led by D. Y. Telegin excavated a trench with a total area of 5 m2. Later (in 1984), the site was explored by an expedition under the general guidance of K. I. Krasilnikov and Y. G. Gurin.
The total number of findings revealed as a result of the research by O. G. Shaposhnikova reached 295 units. The material analysis demonstrates the settlement is multi-layered. The upper horizons with the Middle and Late Bronze Age materials being the latest. In the conditional horizon of 0.8/0.9 m, a rather informative fragment of the Late Copper Age vessel was found, and at the same time, it is accompanied by a flint complex, which has the appearance of the Early Copper Age or Neolithic. The artifacts found in the conditional horizons of 0.9/1.0—1.1/1.2 m appear to be relatively «pure» in that the cultural and chronological terms clearly define their affiliation with the Early Neolithic Period and allow them to be associated with the Lower Don culture/Nizhnedonska culture of the Mariupol Cultural and Historical Area. At the same time, the presence of earlier artifacts, such as a conical single-platform core and multiple-truncated burin, makes one more cautious to interpret the complexes. Both the core and the burin look more logical in the flint complexes of the lower horizons of the site. In this sense, it is important to pay attention to the description of the stratigraphic section of the excavation area 2 of the settlement Pidhorivka, presented by Y. G. Gurin in a monograph about the Early Copper age sites of the Siversky Donets Basin. It states that, at a depth of 1.7/2.0 m and below, the layer of floodplain alluvium contains «Mesolithic materials». Y. G. Gurin did not publish the materials themselves that he claimed were from the Mesolithic era. In 2006, O. F. Gorelik issued a publication dedicated to the interpretation of the materials of the lower layer of Pidhorivka. In this work, he linked the affiliation of the flint complex with the early stage of Donetsk culture, and considered the site one of the centers of the Mesolithic industries with the yanishlavitsa type of projectile points. This conclusion is based on the similarity of the materials of the lower layer of Pidhoryvka with the flint complex of the site Shevchenko hamlet, one of the features of which is the presence of a yanislavitsa type of projectile point. In 1999, the materials of the site Zelena Hornitsa 5 were published, which is located on the second floodplain terrace of the lake on the left bank of the Siversky Donets River. In the material culture of this site, even if there are multiple elements, they in no way affect the overall situation. The complex of projectile points of the site consists of trapezes, a yanislavitsa type, points with truncated edges, and so on. The presence of the collapse of the stucco vessel along with these flint products, gave rise to criticism of the idea of O. F. Gorelik about the Mesolithic character of complexes with a yanislavitsa type of projectile points. Later V. O. Manko, in a more detailed form, questioned the theory of O. F. Gorelik. To the present day we can state that there has been some stagnation in this issue.
The surveys in 1985 were conducted at the valley of Aidar river from v. Lyman to v. Losovivka. In this area, sites lots have been found, which in chronological terms date back to the Paleolithic—Medieval times. For this reason, we believe that the introduction into scientific circulation of even a small amount of archaeological materials, allows the creation of a more complete picture of the processes that took place in the basin of the middle stream of the Siversky Donets River during the Neolithic—Copper Age.
21
Katnić-Bakaršić, Marina. "(Ne)dovršena priča o stilu F. M. Dostojevskog / The (un)finished story of F. M. Dostoevsky’s style." Journal of the Faculty of Philosophy in Sarajevo / Radovi Filozofskog fakulteta u Sarajevu, ISSN 2303-6990 on-line, no. 25 (December 23, 2022): 339–50. http://dx.doi.org/10.46352/23036990.2022.339.
Full textAbstract:
The paper explores F. M. Dostoevsky’s style from the contemporary semantic-stylistic research perspective. Based on canonical work of M. Bakhtin on Dostoevsky and recent corpus-semantic explorations of Dostoevsky’s language, the paper aims to show how microelements at different language levels can be regarded as stylemes and build the unique style, harmonized with the main idea of Dostoevsky’s works. The paper focuses on the stylistic effects of intensifiers and their unusual collocations, and specific usage of particles. From the critical stylistics perspective, transitivity is explored, primarily passivisation – the removal of the agent / actor as an important styleme in Dostoevsky’s novels. The intensified expressiveness of the writer’s style, its “theatricality”, as well as the accelerated, sometimes broken prose rhythm, which also contributes to the speech characterization of his heroes, is also analysed. It can be concluded that criticism of Dostoevsky’s style is not justified, because that style is completely in compliance with the emotional states of his characters and with the key ideas of his works.
22
Nizhnikov, Sergei Anatol'evich, and Argen Ishenbekovich Kadyrov. "SIGNIFICANCE OF METAPHYSICS’ CRITICISM IN M. HEIDEGGER'S CREATIVITY." Metafizika, no. 1 (December 15, 2020): 38–46. http://dx.doi.org/10.22363/2224-7580-2020-1-38-46.
Full textAbstract:
Despite various interpretations of Heidegger's philosophy, he is undeniably a deep critic of the metaphysical tradition in European philosophy. His task of overcoming metaphysics once again aroused interest in the fundamental issues of life in the era of the total dominance of private sciences. In the article, the authors explore the concept of metaphysics and its criticism in the work of M. Heidegger, as well as subsequent interpretations, in particular by O. Peggeler (“New Ways with Heidegger”, 1992). Criticism of metaphysics was a necessary condition for overcoming it to build a fundamental ontology. Having experienced the influence of Nietzsche, Heidegger does not remain a Nietzschean, because he considers him the last metaphysician to be overcome. In this regard, Peggeler recognizes Heidegger's main work not as “Being and Time”, but as “Reports to Philosophy” (1936), where he sought to reveal the primary sources of the concept of metaphysics. Heidegger's views regarding the interpretation of the development of metaphysics in different historical eras are specially considered.
23
Sumarno, Sumarno, and Dewi Ratnaningsih. "Kritik Sajak F Rahardi “Nasehat Nenek Pada Cucu Laki-Lakinya yang Sedang Patah Hati”." Edukasi Lingua Sastra 19, no. 1 (April 28, 2021): 39–54. http://dx.doi.org/10.47637/elsa.v19i1.319.
Full textAbstract:
Literature criticism could be used as media for connecting the reader and the literature. Stages done in literature criticism is started by interpretation, analysis, and evaluation. Based on interpreation, analysis, and evaluation, this rhyme use clear diction, so it’s become inappropriate for student. In addition, some Indonesian words such as berak, kencing, cebok, and kentut are assumed as inappropriate words. Thus, this literature has low education value for young readers, like students. The use of inappropriate enjambemen also creates and produces unclear meaning in every line of literature.
24
Yurieva, Ol’ga. "When the Unknown Becomes Known: Textual Criticism, Biography, Criticism (Review of Books Published by the RFBR Competition “Sources and Methods in the Study of the Legacy of F. M. Dostoevsky in Russian and World Culture”)." Неизвестный Достоевский 9, no. 1 (March 2022): 124–55. http://dx.doi.org/10.15393/j10.art.2022.5981.
Full textAbstract:
Russian Academy of Sciences presents a number of books published by the Russian Foundation for Basic Research competition “Sources and Methods in the Study of the Legacy of F. M. Dostoevsky in Russian and World Culture.” They are Viktorovich V. A., Zakharova O. V. “F. M. Dostoevsky in Russian Criticism. 1845–1881”; “Dostoevsky’s Darovoe. Materials and Research” (edited by A. S. Bessonova); “Unknown and Little-Known Sources of the Biography of F. M. Dostoevsky in the Collection of the State Museum of the History of Russian Literature Named After V. I. Dahl: A Collective Monograph” (P. E. Fokin, A. V. Petrova, E. M. Varentsova and others); “New Archival and Printed Sources of the Scientific Biography of F. M. Dostoevsky. Collective Monograph” (edited by B. N. Tikhomirov); and “The Handwritten Legacy of F. M. Dostoevsky” (edited by I. S. Andrianova). The review presents the main topics and problems raised by the researchers, indicates the new archival documents and sources used by the researchers, the significance of the research undertaken by the authors for studying the biography and creative work of F. M. Dostoevsky and creating his new scientific biography.
25
Бондарчук, Елена Михайловна. "POETICS OF CULTURAL MEMORY AND SUBJECT-MATERIAL ONTHOLOGY IN THE NOVEL BY F.M. DOSTOEVSKY “THE BROTHERS KARAMAZOV”." Tomsk state pedagogical university bulletin, no. 5(211) (September 7, 2020): 142–54. http://dx.doi.org/10.23951/1609-624x-2020-5-142-154.
Full textAbstract:
Введение. В основе культурной памяти находятся процессы «возрождения» и «забвения», соотношение которых влияет на духовный облик каждой эпохи. Однако особую значимость действие механизма «культурной памяти» приобретает во времена социальных катаклизмов. В художественном мышлении кризисного времени семантический комплекс «культурной памяти» прежде всего реализует функцию «упорядочивания стихийного мира», «моделирования» его эстетически релевантной «копии» по универсальному принципу мифа о сотворении мира и его устройстве. Осмысление духовной реальности кризисного времени осуществляется в синтезированных формах, возникающих в результате внутриродовых и межжанровых трансформаций. К такого рода художественным феноменам относится финальный роман Ф. М. Достоевского «Братья Карамазовы», который отражает стремление автора создать универсальную художественную сверхформу для всеобъемлющего воплощения миропонимания. Цель статьи – изучить предметно-вещный мир в романе «Братья Карамазовы» с онтологических позиций и в контексте поэтики культурной памяти. В этой связи определить характерные особенности дескриптивных частей сюжета, выявить ключевые пространственные образы, дифференцировать «предметное» и «вещное» значения объектов интерьера. Материал и методы. Исследуются особенности изображения предметного мира в романе «Братья Карамазовы» с опорой на труды М. М. Бахтина, С. С. Аверинцева, А. П. Чудакова, М. Н. Эпштейна, К. Г. Исупова.Предметом изучения является интерьер как один из аспектов предметно-вещного мира и ряд вещей-операторов в их связи с проблематикой культурной памяти. Исследование осуществляется на основе структурно-семиотического метода. Результаты и обсуждение. В отечественном литературоведении проблема вещной/предметной поэтики не изучена системно. Лексемы «предмет» и «вещь» чаще всего используются в обобщенном значении. С учетом различия их этимонов предлагается составной термин «предметно-вещный мир», который объединяет разные (визуальный и слуховой) варианты художественной интерпретации реальности с сохранением исходных значений, а также включает подход к предмету и вещи с позиций духовного освоения, открытия экзистенциального смысла. Предметно-вещный аспект в поэтике Ф. М. Достоевского представлен неразвернуто. Однако в контексте устремленности мысли Ф. М. Достоевского на «апредметное», «субстанциальное» предметно-вещный мир приобретает особые характеристики. «Шаблонность» описаний интерьеров в романе «Братья Карамазовы», как прием, создает множественные сюжетные переклички и повторы, которые в совокупности раскрывают метафизический образ общего пространства. Предметы интерьера, изображенные предельно условно, одновременно реализуют символическую функцию «вещей»-вестников. Краткость описаний, в пределе сводящаяся к перечислению, актуализирует в сюжете ранние, донарративные формы кумулятивного типа, придавая динамику и событийность дескриптивным частям сюжета. Помимо этого, символичность объектов предметно-вещного мира заключает в себе возможность трансформации предмета в вещь, которая понимается как раскрытие эйдоса, живой структуры или метафизической глубины вещи, инверсивного движения вещи в предмет, «закрытия» ее экзистенциального ядра, «затвердевания» в рамках внешней формы материального существования. Заключение. Предметно-вещный мир в «Братьях Карамазовых», в частности интерьер, данный в кратких описаниях, перечислениях, упоминаниях, не только пунктирно намечает контуры бытовой жизни героев, обусловливает траектории их перемещений, действий, но и реализует возможность «вхождения» в бытийные смыслы, в пространство сакральной памяти, становясь, по определению П. Флоренского, символом Вечности, созданным во Времени. Introduction. The basis of cultural memory are the processes of “rebirth” and “oblivion”, the ratio of which affects the spiritual make-up of each era. However, the action of the mechanism of “cultural memory” acquires special significance in times of social cataclysms. In the artistic thinking of the crisis time, the semantic complex of “cultural memory” primarily implements the function of “ordering the elemental world”, “modeling” its aesthetically relevant “copy” according to the universal principle of the creation myth and its structure. The understanding of the spiritual reality of the crisis time is carried out in synthesized forms that arise as a result of intrageneric and intergenre transformations. This kind of artistic phenomena includes the final novel by F. M. Dostoevsky’s “The Brothers Karamazov”, which reflects the author’s desire to create a universal artistic super-form for a comprehensive embodiment of the worldview. Aim and objectives. To study the subject-material world in the novel “The Brothers Karamazov” from ontological positions and in the context of the poetics of cultural memory. In this regard to identify characteristic features of descriptive parts of the plot, to reveal key spatial images, to differentiate the “subject” and “material” meanings of interior objects. Material and methods. The article explores the features of image of the objective world in the novel “The Brothers Karamazov”, relying on the works by M. M. Bakhtin, S. S. Averintsev, A. P. Chudakov, M. N. Epstein, K. G. Isupov. The subject of study is the interior as one of the aspects of the subject-material world and a number of things-operators in their connection with the problems of cultural memory. The study is carried out on the basis of the structuralsemiotic method. Results and discussion. In Russian literary criticism, the problem of object / subject poetics has not been systematically studied. The tokens “subject” and “thing” are most often used in a generalized sense. The differences in their etymons are given, the composite term “subject-material world” is proposed, which combines different (visual and auditory) versions of the artistic interpretation of reality while preserving the original values, and also includes an approach to the subject and things from the standpoint of spiritual development, the discovery of existential meaning. The subject-material aspect in the poetics of F. M. Dostoevsky is represented in an undeveloped manner. However, in the context of the aspiration of thought F. M. Dostoevsky on the “subject-matter”, “substantial” subject-material world acquires special characteristics. The “stereotyped” descriptions of interiors in the novel “The Brothers Karamazov”, as a technique, creates multiple plot calls and repetitions, which together reveal a metaphysical image of the common space. Interior items, depicted extremely conditionally, at the same time realize the symbolic function of the “things” of messengers. The brevity of descriptions, which in the limit boils down to enumeration, actualizes the early, donarrative forms of the cumulative type in the plot, giving dynamics and eventfulness to the descriptive parts of the plot. In addition, the symbolism of objects of the subject-real world includes the possibility of transforming an object into a thing, which is understood as revealing the eidos, living structure or metaphysical depth of a thing and the inverse movement of a thing into an object, “closing” its existential core, “solidifying” within the external forms of material existence. Conclusion. Thus, the subject-material world in “The Brothers Karamazov”, in particular the interior, given in brief descriptions, listings, references, not only dotted outlines the contours of everyday life of heroes, determines the trajectories of their movements, actions, but also implements the possibility of “entering” into existential meanings, into the space of sacred memory, becoming, by the definition of P. Florensky, a symbol of Eternity created in Time.
26
Glazkova, Marina M., and Yana V. Ikonnikova. "Virtual-creative interethnic dialogue (A. Gide – F. Nietzsche – F. Dostoevsky) in French and Russian literary criticism." Neophilology, no. 25 (2021): 51–61. http://dx.doi.org/10.20310/2587-6953-2021-7-25-51-61.
Full textAbstract:
The review of literature on the problem of “Dialogue of cultures in A. Gide’s works” establish extensive contact and typological convergence, a rollcall of images and ideas, reveal new interpretation of the story. All this became the basis of intertextual analysis, which allows us to understand more deeply the intention of the artists of the word, especially F.M. Dostoevsky, with whom A. Gide enters into a virtual dialogue. The work purpose is to address the ethical and philo-sophical ideas of F. Nietzsche and F.M. Dostoevsky in the context of A. Gide’s works, which turns out to be the most important moment and the basis for understanding the essence of the work of prominent French writer. The system of analysis includes a peculiar dialogue between F. Nietzsche, A. Gide and F.M. Dostoevsky – artists belonging to different nationalities and cul-tures, who did not coincide in time, did not know each other personally, which turned out to be evidence of their inextricable cultural connection. We determine the study degree and A. Gide’s artistic world originality on the basis of the rich factual material contained in the studies of the creative heritage of the French writer, which allows us to trace the evolution of A. Gide’s work from the beginning of the 20th to the beginning of the 21st century, to determine the literary signi-ficance of the problems posed in his work. The methodology of the work includes an overview of what has already been done in French and Russian literary studies on this issue in the context of the embodiment of national ideas in their work, which is the novelty and relevance of this study. Conclusions: for A. Gide, an appeal to F.M. Dostoevsky was immersed in his literary texts in order to understand the Russian mentality in comparison with the Western European system of values. The French writer emphasized that in the Russian environment, depicted by F.M. Dostoevsky, love prevails, which is “inclusive”, so the writer called it “world responsiveness”. People go to such love through compassion, sacrifice, meekness and deep faith in the Savior and the Mother of God. Realizing their messianic role in the world, the Russian people, represented by F.M. Dostoevsky, according to A. Gide, in the future will renew the Catholic Church, which dis-torted Christianity and brought strife in the world community. The dialogical perspective requires a deeper study, because French, German and Russian writers-thinkers turn their gaze not only to the interpretative part, not only to the interpretation, interpretation of the works of F.M. Dos-toevsky, but also scattered in the works of A. Gide rolls with his thoughts, disputes with his heroes, allusions to his plots, to playing out individual episodes, which did not find a detailed study and justification in this interesting virtual dialogue.
27
Bassford, Andrew Dennis. "Malebranche on Intelligible Extension: A Programmatic Interpretation." Metaphysica 21, no. 2 (October 25, 2020): 199–221. http://dx.doi.org/10.1515/mp-2019-0005.
Full textAbstract:
AbstractThe purpose of this essay is exegesis. I explicate Nicholas Malebranche’s concept of intelligible extension. I begin by detailing how the concept matured throughout Malebranche’s work, and the new functions it took on within his metaphysical system. I then examine Gustav Bergmann’s (1956. “Some Remarks on the Philosophy of Malebranche.” The Review of Metaphysics 10(2): 207–26) “axiomatic” interpretation, as well as the criticism of it offered by Daise Radner (1994. “Malebranche and the Individuation of Perceptual Objects.” In Individuation and Identity in Early Modern Philosophy, edited by Kenneth F. Barber, and Jorge J. E. Gracia, New York: SUNY Press). I argue that Radner’s criticism of the interpretation is only partly successful; some of her objections can be met; others cannot. I then develop a novel interpretation of the concept, given insights from this dispute. I call it the “programmatic interpretation.” I argue that this interpretation coheres well with Malebranche’s famous Vision in God thesis, as well as many of his other commitments. I conclude by considering a certain pertinent objection to my proposal, summarizing the dialectic, and forcefully restating my case.
28
Litvinov, Maksim F. "Interpretation of the Origin by F. Rosenzweig and M. Heidegger." RUDN Journal of Philosophy 26, no. 3 (September 30, 2022): 557–71. http://dx.doi.org/10.22363/2313-2302-2022-26-3-557-571.
Full textAbstract:
The research focuses on the problem of interpretation of such a concept as the origin, which is ultimate for philosophical thought and bases existentially oriented constructions of Franz Rosenzweig and Martin Heidegger. It is argues in this paper the fundamental difference between the interpretations of the origin in “The Star of Redemption» and in «Being and Time”, despite all points of intersection and coincidences that bring closer together dialogical and existential-historical thinking. Such differentiation of positions is determined by the necessity both to neutralize romantic connotations, which expose the origin ( Ursprung ) as abyss ( Abgrund ), and to methodologically clarify the possibility not so much to think as to practically assert a limited and unclosed within itself integral being, including ontological and ethical dimensions. The origin of oblivion and renewal, imposed by Heidegger’s hermeneutics of facticity, is contrasted with Rosenzweig's origin of the “eternal overworld”, reconstructed on the basis of Herman Cohen's religio-philosophical intuitions and his analysis of the infinitesimal as a principle of reality. Rosenzweig’s position, which aims at a correlative consideration of the purely logical content of the infinitesimal quantity (almost-Nothing) and the existential experience of the finiteness of everything, is favorably distinguished by the absence of a one-sided focus on recalling, where fore-running although is declared, but it is immediately restrained by being-towards-death. As a result, Rosenzweig’s dialogism turns out to be free from overestimating what Heidegger’s interpretation calls resoluteness, which in fact is not much different from paralysis in the clearance of being. Cohen’s problem of an infinite task's realization, being actualized in Rosenzweig’s conception, allows to go beyond being-towards-death in juxtaposing the trajectories of initial elements into a true gestalt.
29
Kostytsky, V. V. "Interpretation of laws as form of law implementation." INTERPRETATION OF LAW: FROM THE THEORY TO THE PRACTICE, no. 12 (2021): 24–29. http://dx.doi.org/10.33663/2524-017x-2021-12-4.
Full textAbstract:
1. Kostytskyi M. V. Psykholohichni pytannia yurydychnoi vidpovidalnosti (krytyka prezumptsii «neznannia zakonu nezvilniaie vid vidpovidalnosti») / M. V. Kostytskyi // Yurydychna psykholohiia ta pedahohika. – 2011. – № 2 (10). – S. 3. 2. Opotiak S. Z. Teorii tlumachennia pravovykh norm (iurydychna pryroda ta pidkhody do tlumachennia pravovykhnorm) / S. Z. Opotiak // Biuleten Ministerstva yustytsii Ukrainy. – 2011. - № 4. – S. 122-127. – Rezhym dostupu: http://nbuv.gov.ua/UJRN/bmju_2011_4_18 3. Molyboha M. P. Funktsii ta metody tlumachennia prava / M. P. Molyboha // Biuleten Ministerstva yustytsii Ukrainy. –2010. – № 11. – S. 12; Paleshnyk S. I. Tlumachennia v sudovii praktytsi: poniattia, osoblyvosti, vydy : dys. ... kand.yuryd. nauk : 12.00.01 / S. I. Paleshnyk ; Nats. yuryd. un-t im. Yaroslava Mudroho. – Kharkiv, 2016. – S. 11-12. 4. Malynova Y. P. Fylosofyia prava (ot metafyzyky k hermenevtyke) : monohrafyia / Y. P. Malynova. – Ekaterynburh: UrHIuA, 1995. – S. 82. 5. Sadovskyi M. M. Teoretyko-pravovi zasady doktrynalnoho tlumachennia prava : dys. … kand. yuryd. nauk: 12.00.01 /M. M. Sadovskyi; Klasychnyi pryvatnyi universytet. – Zaporizhzhia, 2017. – S. 21. 6. Dvorkin R. Serioznyi pohliad na prava / R. Dvorkin ; per. z anhl. A. Frolkin. – Kyiv : Vyd-vo Solomii Pavlychko «Osnovy», 2000. – S. 52. 7. Cherdantsev A. F. Tolkovanye prava y dohovora / A. F. Cherdantsev. – Moskva : Yunyty-Dana, 2003. – S. 104. 8. Pryima S. V. Pryntsypy tlumachennia norm prava : avtoref. dys ... kand. yuryd. nauk: 12.00.01 / S.V. Pryima; Natsionalna yuryd. akademiia Ukrainy imeni Yaroslava Mudroho. – Kharkiv, 2011 – 18 s.; Samilo H. O. Problemy tlumachennia pravovykh norm : navch.-metod. posib. / H. O. Samilo. – Zaporizhzhia : ZNTU, 2017. – S. 47. 9. Rysheliuk A. M. Zakonotvorchist v Ukraini: navch. posib / A. M. Rysheliuk. – Kyiv : Vyd-vo NADU, 2004 // https://pidruchniki.com/83139/pravo/tlumachennya_zakonu. 10. Shevchuk S. Osnovy konstytutsiinoi yurysprudentsii / S. Shevchuk. – Kyiv : Ukrainskyi tsentr pravnychykh studii, 2001. – S. 210-211. 11. Sadovskyi M. M. Teoretyko-pravovi zasady doktrynalnoho tlumachennia prava : dys. … kand. yuryd. nauk : 12.00.01 /M. M. Sadovskyi; Klasychnyi pryvatnyi universytet. – Zaporizhzhia, 2017. – S. 113. 12. Havrylov D. A. Pravoprymenytelnoe tolkovanye: dyss. … kand. yuryd. nauk : 12.00.01 / D. A. Havrylov; Volhohradskyi hos. un-t. – Volhohrad, 2000. – S. 5-6. 13. Sotsuro L. V. Neofytsyalnoe tolkovanye norm rossyiskoho prava : avtoref. dys. … dokt. yuryd. nauk : 12.00.01 / L.V. Sotsuro. – Moskva, 1998. – S. 17. 14. Skakun O. F. Teoriia derzhavy i prava : pidruchnyk / O. F. Skakun. – Kharkiv : Konsum, 2008. – S. 410. 15. Sadovskyi M. M. Teoretyko-pravovi zasady doktrynalnoho tlumachennia prava : dys. … kand. yuryd. nauk : 12.00.01 /M. M. Sadovskyi; Klasychnyi pryvatnyi universytet. – Zaporizhzhia, 2017. – S. 139. 16. Zahalna teoriia derzhavy i prava: pidruchnyk / za zah. red. M. V. Tsvika, O. V. Petryshyna. – Kharkiv : Pravo, 2009. –S. 419-420.
30
Ben Pazi, Hanoch. "The Charm of F. Rosenzweig’s Philosophy." RUDN Journal of Philosophy 26, no. 3 (September 30, 2022): 485–92. http://dx.doi.org/10.22363/2313-2302-2022-26-3-485-492.
Full textAbstract:
The philosophical works of F. Rosenzweig have particular meaning for both academic and existential inquiries and interests, as he deeply re-observes the religious life of Judaism and Christianity through the reflection of human existence. Fear of death, observation of Plato’s understanding of Eros, overcoming of atheism of Goethe in the experience of faith - these key motives form a challenging discourse of Rosenzweig’s theological and philosophical thought, which invites reader into a truly charming spiritual journey. The article provides an intriguing introduction to the issue of RUDN Journal of Philosophy , which is dedicated to F. Rosenzweig and provides a scope to various aspects of the philosophy of one of the most prominent German-Jewish thinkers of the twentieth century, including topics such as criticism and reception of German idealism and existentialism, «new thinking» as a philosophical system, philosophical interpretation of biblical texts, Kabbalah and mysticism.
31
Charota, Ivan A. "To whom and why F. M. Dostoevsky is precious?" Journal of the Belarusian State University. Sociology, no. 3 (October 7, 2021): 24–30. http://dx.doi.org/10.33581/2521-6821-2021-3-24-30.
Full textAbstract:
The article is devoted to the analysis of F. M. Dostoevsky’s work regarding his 200th anniversary. The author aims to reveal to whom and why the great writer and thinker is precious, and how his work is perceived in Serbia. He tries to evaluate what contributes to and what hinders the comprehension of the F. M. Dostoevsky phenomenon. The author notes that veneration for such a writer can be fully expressed when everyone who has mastered literacy starts reading at least one of his works and feels the field of attraction and repulsion, which does not always correlate with the problem field of scientific F. M. Dostoevsky studies. Unfortunately, the author states that the youth do not initially develop an elementary desire to necessarily be included in the literary classics in such conditions when the entire system of basic education seems to be subordinated to the task of discouraging any desire to read on their own, and even more so to feel and reflect. Interest in «Crime and punishment» is almost impossible to arouse basing on stereotypical comments with a retelling of the plot, some elements of which are included in the tests for the subject devoid of attractiveness. And the plot, moreover, is fully conveyed by the half-page versions of the novel, which are prepared by enterprising interpreters precisely for passing the test as the optimal form of attestation. At the same time, the judgments of foreign writers are used surprisingly widely, and at the same time thoughtlessly – the main thing is that they have an appropriate image. Over time, it becomes more and more obvious that few contemporary writers can compare to F. M. Dostoevsky both in the depth and completeness of ideas about the real life of a Russian person, especially in the scope of its spheres, and in the insight of the analysis of everything that happened and which inevitably followed from what was happening. For a century and a half, F. M. Dostoevsky has remained an unparalleled bearer of the conscience of mankind, a kind of seismograph of the coming upheavals. The author states that in Serbia, the reverent perception of F. M. Dostoevsky, which was formed under the influence of the Russian religious emigration, dominates. A separate topic is also the impressive activity and productivity of the Serbian scientific F. M. Dostoevsky studies. Finally, if all this we project onto the Belarusians, then it would be appropriate to say that F. M. Dostoevsky is the bearer of special patriotism manifested not in superficial pathos, which usually serves either self-praise or complacency, but in soberly analytical and constructive criticism, which presupposes, first of all, self-criticism, as an indispensable component of sound national self-awareness.
32
Smyslova, Olga N. "On “Real Truth” and “Higher Truth” in the Art Criticism of F. M. Dostoevsky." Two centuries of the Russian classics 3, no. 4 (2021): 114–29. http://dx.doi.org/10.22455/2686-7494-2021-3-4-114-129.
Full textAbstract:
The article deals with the art reviews of F. M. Dostoevsky. Based on the analysis of the articles “Exhibition at the Academy of Arts for 1860–61” and “About the Exhibition” published in “A Writer’s Diary” for 1873, the aesthetic criteria for Dostoevsky’s assessment of genre, historical, portrait and landscape Russian painting are determined. The author of the article reveals the most important criteria outlined by Dostoevsky: the expression of the author’s ideal that distinguishes a painting from mirror reflection and photography; the artist’s independence from direction, excessive naturalness, theatricality and “excessive showiness”. Particular attention is paid to Dostoevsky’s analysis of paintings by V. N. Jacobi, V. G. Perov, V. E. Makovsky, N. G. Sсhilder, M. P. Klodt, I. E. Repin, A. I. Kuindzhi, N. N. Ge, whose work aroused genuine interest of the writer and prompted reflections on artistic truth in art. The characters of the paintings as presented by Dostoevsky come to life, acquire a “history of feelings”, a psychological appearance and a voice. The work distinguishes between such concepts used by Dostoevsky to analyze contemporary painting for the writer in the light of “realism in the highest sense”, such as “natural truth”, “real truth”, “stage truth”, “artistic truth”, “higher truth”.
33
Kocherga, Svitlana, and Oleksandra Visych. "The antitheatrical discourse in Ukrainian metadrama in the early twentieth century." Przegląd Wschodnioeuropejski 11, no. 1 (June 30, 2020): 251–59. http://dx.doi.org/10.31648/pw.5985.
Full textAbstract:
The article analyzes methods of implementing antitheatrical discourse in Ukrainian dramaturgy. Different types of antitheatricality in literary texts are distinguished on the basis of plays by M. Starytskyi, I. Karpenko-Karyi, A. Krushelnytskyi, V. Vynnychenko, Ya. Mamontiv, V. Cherednychenko, and M. Kulish. The authors define key vectors that the antitheatrical discourse follows: criticism of theater as an institution, criticism of the drama school / method, criticism of theatricality and acting, including in offstage situations. It is arguably reasonable to examine the phenomenon of antitheatrical prejudice in the context of the theory of metadrama as one of its factors. Artistic interpretation of the theater in an ironic or farcical vein, discussions over the repertoire that is no longer relevant, the aesthetic nature of stage technique, and discredit of acting as an occupation all generally encourage dramatic conventionality to double. Most common metadramatic devices used to implement antitheatricality in Ukrainian drama are believed to include a play within a play, adaptation of spectator’s reception for stage, and intertextual references.
34
Барицкий, Димитрий. "M. M. Bakhtin’s Hermeneutic Theory." Theological Herald, no. 1(36) (March 15, 2020): 244–63. http://dx.doi.org/10.31802/2500-1450-2020-36-1-244-263.
Full textAbstract:
Основная цель, которую ставит перед собор автор статьи, - привлечь внимание к герменевтической теории м. м. Бахтина и указать на её актуальность в рамках такого направления филологического анализа текста, как религиозное литературоведение. в статье в систематическом виде изложены основные положения герменевтической теории учёного. в начале рассматривается общая теория познания м. м. Бахтина, важное место в которой занимают понятия «монологизм» и «диалогизм». После особое внимание направляется на его концепцию структуры содержательной стороны произведения, и здесь изучаются понятия «знак», «значение» и «смысл». отдельно выделяются критерии, которые, по мнению м. м. Бахтина, сообщают смыслу текста стабильную форму, а также приводится критика учёным литературоведческого структурализма. Помимо этого, автор обращает внимание на ту методологию интерпретации произведения, которая складываются на основе предложенной теории текста. в заключение даётся оценка тому эвристическому потенциалу, которым может обладать герменевтическая теория м. м. Бахтина в контексте анализа произведений мировой классической литературы. The main goal of the author of the article is to draw attention to M. M. Bakhtin’s hermeneutic theory and to point out its relevance in the framework of such a direction of philological analysis of the text as «religious literary criticism». The article presents the main terms of the hermeneutical theory of the scientist in a systematic way. In the beginning, we consider the general theory of knowledge of M. M. Bakhtin, an important place in the framework of which is occupied by such concepts as «monologism» and «dialogism». After that, special attention is paid to the scientist’s concept of the structure of the content side of the work, in which such concepts as «sign», «signification» and «meaning» play an important role. The criteria that, according to M. M. Bakhtin, give the meaning of the text a stable form are singled out separately, and academic criticism of literary structuralism is also given. In addition, the author pays attention to the methodology of interpretation of the work, which is formed on the basis of the proposed theory of the text. In conclusion, we assess the heuristic potential that M. M. Bakhtin’s hermeneutical theory can have in the context of analyzing works of world classical literature.
35
Domanskiy, Valeriy A. "Early N. A. Nekrasov in Lifetime Criticism." Two centuries of Russian classics 4, no. 3 (2022): 220–31. http://dx.doi.org/10.22455/2686-7494-2022-4-3-220-231.
Full textAbstract:
The monograph by M. Yu. Danilevskaya is based on a thorough study of periodicals, diaries and letters of writers, archival materials, memoirs of contemporaries: those sources which contain information about the early years of N. A. Nekrasov. For the first time in Russian literary criticism, she undertakes a multifaceted contextual and historical-functional analysis of critical works, statements and judgments about Nekrasov, which makes it possible to comprehend the reception of the poet’s literary activity from 1838 to 1848 by domestic criticism and journalism. During this period that Nekrasov formed as a poet, critic, editor and publisher. The book highlights the personality of Nekrasov, his relationship with his contemporaries, his work in critical assessments of F. A. Koni, V. G. Belinsky, N. A. Polevoy, P. A. Pletnev, O. I. Senkovsky, F. V. Bulgarin, etc. The monograph contains a number of entertaining stories related to the study of little-known facts of Nekrasov studies. The publication under review helps to clarify important events in the historical and literary process of the 1840s, to comprehend Nekrasov’s place in it and to trace the poet’s difficult creative path into “great literature.”
36
Syukkur, Abdul. "Membedah Al-Kashsha<F; Karya Muktazilah Yang Menjadi Rujukan Ahlussunah Wal Jamaah." El-Furqania : Jurnal Ushuluddin dan Ilmu-Ilmu Keislaman 7, no. 01 (February 28, 2021): 72–93. http://dx.doi.org/10.54625/elfurqania.v7i01.4385.
Full textAbstract:
The difference in opinion between Ahlus sunnah wal jamaah and Muktazilah has reached the point of misleading one another. Thus, reference sources for one sect will not be used as a reference for other sects, but this is not the case with al-Kashsha>f which is the work of Muktazilah which is the reference for the ulama-Ahlussunnah wal Jamaah. This article examines the book al-Kashsha>f by al-Zamakhshari> al-Mu'tazili>, its writing background, the biography of the author, the characteristics of the book al-Kashsha>f, its advantages and disadvantages, the interpretation which is the point of criticism of Ahlussunnah wal Jamaah, and Appreciation of Ulama Ahlussunnah wal Jamaah for al-Kashsha>f.
Keywords: Al-Kashsha>f, al-Zamakhshari>, Muktazilah, Ahlussunnah wal Jamaah.
37
West, Stephanie. "Laertes revisited." Proceedings of the Cambridge Philological Society 35 (1989): 113–43. http://dx.doi.org/10.1017/s0068673500005162.
Full textAbstract:
Reunited after nearly twenty years' separation, Odysseus and Penelope retire at last to bed, οἱ μὲν ἔπειτα | ἀσπάσιοι λέκτροιο παλαιοῦ θεσμὸν ἵκοντο (Od.23.295–6). This, we are told in the scholia, was for the two greatest Homeric scholars of antiquity theτέλος; of theOdyssey: τοῦτο τέλος τῆς Όδυσσείας φησὶν Άρίσταρχος καὶ Άρισιοφάνης (H, M, Q), Άρισιοφάνης δὲ καὶ Άρίσταρχος πέρας τῆς Όδυσσείας τοῦτο ποιοῦνται (M, V, Vind. 133). The interpretation of this testimony poses one of the most important problems of Homeric scholarship; Bethe did not exaggerate its significance when he wrote ‘Es hängt von der Auffassung dieses Scholions die Beurteilung unserer Homerüberlieferung überhaupt ab und mit ihr die Frage, was der Kritik gegenüber der Ilias und Odyssee erlaubt ist’. (‘The interpretation of this scholium is of vital significance for our view of the transmission of the Homeric text as a whole, and for the question of the proper limits of criticism where theIliadandOdysseyare concerned’.) Here, as all too often, we are frustrated by the abbreviated condition of theOdyssey-scholia which, as the poem draws to a close, reflect in their increasing concision the diminishing energies of those to whom we owe our knowledge of ancient Homeric scholarship,Prima facie, the note tells us that Aristophanes and Aristarchus took 23.296 as the limit of theOdyssey; this is commonly understood to mean that they judged the Epilogue to be unhomeric, but this interpretation is not free from difficulty, and some have maintained that the note represents aesthetic criticism.
38
VOLODINA, NATAL'IA V. "LITERARY CRITICISM OF N. D. AKHSHARUMOV: THE EXPERIENCE OF INDEPENDENCE." Cherepovets State University Bulletin 3, no. 108 (2022): 90–110. http://dx.doi.org/10.23859/1994-0637-2022-3-108-7.
Full textAbstract:
The article considers the literary works of N. D. Akhsharumov - a critic little noticed by his contemporaries. The peculiarity of his approach is that he assessed fictional works not only as a critic, but also as a writer, having appropriate experience; and considered them in terms of understanding the logic of the fiction process, as well as in relation with the mastery of thought expression. The main internal laws of the work, followed by the critic, are integrity and the presence of a fictional idea (as opposed to the “forced” idea). This paper presents an overview of the main articles by N. D. Akhsharumov, analysis of the drama “A Protégée of the Mistress” by A. N. Ostrovsky, “The Bitter Fate” by A. F. Pisemsky, as well as the novels “One Thousand Souls” by A. F. Pisemsky, “Home of the Gentry” by I. S. Turgenev, “Oblomov” by I. A. Goncharov, “Crime and Punishment” by F. M. Dostoevsky, “War and Peace” by L. N. Tolstoy. The choice of these works was based solely on the author's interest. It is concluded that the literary criticism of N. D. Akhsharumov as a whole “fits” into the context of literary and critical thought in the 1860s, but at the same time it is distinguished by a special individual approach and maximalism of the free art requirements.
39
Babosov, E. M. "Antinomies and paradoxes of life destinies of the heroes of romanov F. M. Dostoevsky." Doklady of the National Academy of Sciences of Belarus 65, no. 5 (November 8, 2021): 636–40. http://dx.doi.org/10.29235/1561-8323-2021-65-5-636-640.
Full textAbstract:
The literary heritage of F. M. Dostoevsky is a rich research material that traces the philosophical and sociological aspect, expressed in the author’s reasoning about the existence of man, his place in the world and society, their interaction through the prism of dichotomy. F.M. Dostoevsky known as a deep and paradoxical thinker. In his works, he asked philosophical questions about man, the relationship between rational and unreasonable principles, his place in the world and society. Dostoevsky F. M. worried about the moral greatness of man and his extreme forms, criticism of social violence and utopian attempts to improve and make people and society happy. The leitmotif of the characters in the novels is the possibility of a dignified, happy life in various social realities.
40
Shitikov, Petr Mikhailovich, and Tatyana Yurievna Nikitina. "The Biblical Concept of Eternal Life in the Interpretation of F. M. Dostoevsky." Христианское чтение, no. 4 (2021): 31–43. http://dx.doi.org/10.47132/1814-5574_2021_4_31.
Full text
41
Leckler, Fabien, Fabrice Ardhuin, Charles Peureux, Alvise Benetazzo, Filippo Bergamasco, and Vladimir Dulov. "Analysis and Interpretation of Frequency–Wavenumber Spectra of Young Wind Waves." Journal of Physical Oceanography 45, no. 10 (October 2015): 2484–96. http://dx.doi.org/10.1175/jpo-d-14-0237.1.
Full textAbstract:
AbstractThe energy level and its directional distribution are key observations for understanding the energy balance in the wind-wave spectrum between wind-wave generation, nonlinear interactions, and dissipation. Here, properties of gravity waves are investigated from a fixed platform in the Black Sea, equipped with a stereo video system that resolves waves with frequency f up to 1.4 Hz and wavelengths from 0.6 to 11 m. One representative record is analyzed, corresponding to young wind waves with a peak frequency fp = 0.33 Hz and a wind speed of 13 m s−1. These measurements allow for a separation of the linear waves from the bound second-order harmonics. These harmonics are negligible for frequencies f up to 3 times fp but account for most of the energy at higher frequencies. The full spectrum is well described by a combination of linear components and the second-order spectrum. In the range 2fp to 4fp, the full frequency spectrum decays like f−5, which means a steeper decay of the linear spectrum. The directional spectrum exhibits a very pronounced bimodal distribution, with two peaks on either side of the wind direction, separated by 150° at 4fp. This large separation is associated with a significant amount of energy traveling in opposite directions and thus sources of underwater acoustic and seismic noise. The magnitude of these sources can be quantified by the overlap integral I(f), which is found to increase sharply from less than 0.01 at f = 2fp to 0.11 at f = 4fp and possibly up to 0.2 at f = 5fp, close to the 0.5π value proposed in previous studies.
42
Maltsev, K. G., and A. L. Alaverdyan. "REPRESENTATION OF NATIONALISM: STRUCTURE, CONTENT, CRITICISM." Intelligence. Innovations. Investment, no. 3 (2021): 100–110. http://dx.doi.org/10.25198/2077-7175-2021-3-100.
Full textAbstract:
Nationalism determines modernity — L. Grinfeld’s thesis at the very beginning of the 90s of the twentieth century (repeating the judgment of E. Keduri in the early 60s), unexpectedly for liberal social science, immediately acquired political relevance. The purpose of the article is to identify the reasons for this «surprise»: the representation of the nation in the economic paradigm of the political (D. Agamben’s term) as a civic association of freely self-determining autonomous individuals-citizens excludes the possibility of national conflicts, the reality of which is obvious. Objective scientific research within the disciplinary structure of modern science has as a given object of research in the representation: thus, a philosophical interpretation becomes necessary as a method of criticizing the representation of the nation and the national in the economic paradigm. It has been established that the representation of a nation is normatively and value-wise conditioned by the foundations of «liberal metaphysics»; it is necessary to distinguish between «civil» and «ethnic» nationalisms, which does not have «empirical foundations» (R. Brubaker); attribution to value as a way of constructing an ideal-typical concept of nationalism presupposes the need for an assessment conditioned by the way nationalism is presented; the moral and political disqualification of «ethnic nationalism» as an invalid «remnant» (V. Pareto) is thus «built in» into scientific research, which is at the same time an ideological instrument and a political program. The philosophical interpretation of the meaning of the representation of nationalism in liberal social science, external in relation to the dominant paradigm of the political, provides scientific novelty and leads to the conclusion: a «civil nation» is valid as a political project that presupposes a «historiographic recalculation of the past» (M. Heidegger), retrospectively placing the beginning of nationalism in past. In the course of the presentation, the practical significance of the conclusion is clarified: the theory of the «civilized nation» presupposes drawing a border between «civilized» and — «cultural» and «natural» nationalisms as political enemies that must be removed: drawing the line between «civil» and «ethnic» nationalisms has both scientific and political significance; These circumstances contribute to the understanding of the meaning and the assigned goal of the nation-building process and the practice of national politics.
43
Ferraro, Giuseppe. "A Criticism of M. Siderits and J. L. Garfield’s ‘Semantic Interpretation’ of Nāgārjuna’s Theory of Two Truths." Journal of Indian Philosophy 41, no. 2 (April 2013): 195–219. http://dx.doi.org/10.1007/s10781-013-9179-2.
Full text
44
Abasheva, D., V. Sigov, and R. Sharyafetdinov. "Formation and development of the Chuvash folklore studies and literary criticism of the 19th century." Rhema, no. 4, 2018 (2018): 190–203. http://dx.doi.org/10.31862/2500-2953-2018-4-190-203.
Full textAbstract:
History of literary criticism of various nations of Russia in the 19th century is many-sided and is important both for further development of literature and for the process of mutual enrichment, addition of literatures and literary studies. A special place in this context belongs to the Kazan province which has always been characterized by ethnic diversity an multinational structure and to the University of Kazan which is the acknowledged center for studying traditional ways of life, folklore and literature of the Volga region. In the formation of literary criticism and the development of literature of the Volga region in general and Chuvash literature in particular, the activities of the Chuvash writers, actors, artists, composers (I. Yurkin, G. Timofeev, M. Akimov, K. Ivanov, N. Shubossinni, M. Trubina, F. Pavlov, P. Pazukhin, etc.) and researchers (A.A. Fuchs, V.A. Sboev, S.M. Mikhailov, P. Malkhov, I.Ya. Yakovlev, N.M. Ashmarin, etc.) are of special importance.
45
Markova, E. A. "“Underground Love”: D. H. Lawrence and “Notes from the Underground” by F. M. Dostoevsky." Nauchnyy Dialog, no. 2 (February 28, 2020): 238–50. http://dx.doi.org/10.24224/2227-1295-2020-2-238-250.
Full textAbstract:
The reception of the novel by F. M. Dostoevsky “Notes from the Underground” in the works and correspondence of D. H. Lawrence is analyzed in the article. The novelty of the study is in the fact that the influence of this story on Lawrence’s prose is being studied for the first time. Particular attention is paid to Lawrence’s letters to the translator S. S. Kotelyansky, with whom the English writer shared his impressions of reading the works of Russian classics, especially Dostoevsky, as well as to one of the letters addressed to the writer G. Campbell, which contains the only direct reference to “Notes from the Underground” in Lawrence. This letter reveals an individual interpretation of the story by Lawrence. It is proved that this interpretation turns out to be close to the reading of the Notes by L. Shestov. The question is raised about the existing parallels between the text of Dostoevsky and the novels of D. G. Lawrence (“Women in Love”, “The Lost Girl”, “Rainbow” and “Aaron’s Rod”). The similarity is seen in the peculiar interpretation of the Underground concept by Lawrence. It is shown that the image of the Underground in the works of the English writer (usually expressed by the words “underworld”, “subterranean”) is always somehow connected with the irrational principle and is involved in the formation of Lawrence sensualism.
46
Osovskiy, Oleg E., and Svetlana A. Dubrovskaya. "G.M. Fredlender’s Review on M.M. Bakhtin’s “To the Issues of the Methodology of the Aesthetics of Verbal-artistic Creativity”." Studia Litterarum 7, no. 4 (2022): 316–35. http://dx.doi.org/10.22455/2500-4247-2022-7-4-316-335.
Full textAbstract:
The article presents G. Friedlander’s peer-review on M. Bakhtin’s manuscript of the collection of works. This is the first publication of G. Friedlander’s text written at December 26, 1973. It provides the detailed analysis and assessment of Bakhtin’s book that was published in 1975 under the title “Questions of Literature and Aesthetics.” Highly assessing the scholar’s contribution to Russian literary criticism, the reviewer underlines the innovative nature of the previously unpublished articles in the collection. Bakhtin’s attitude to the “formal school” and his criticism of “material aesthetics” are also important to him. It allows G. Friedlander to name Bakhtin among the most authoritative opponents of structuralism and other schools of Western literary criticism. The most significant to the reviewer are Bakhtin’s discoveries in the field of historical poetics, primarily in the history and theory of the novel. One of the points of G. Friedlander’s disagreement was the interpretation of Gogol’s laughter in the context of Rabelais’ work. The publication of the review is accompanied by the preface, which reconstructs the context of the reception of Bakhtin’s ideas in the late Soviet era, indicates the points of dialogue between G. Friedlander and M. Bakhtin in the 1950s–1970s. The publication is provided with notes.
47
Buijnsters, Piet J. "The hunt for popular prose; the correspondence between J. F. M. Scheepers and M. Buisman, from 1929 until 1942." Quaerendo 18, no. 2 (1988): 104–33. http://dx.doi.org/10.1163/157006988x00213.
Full textAbstract:
AbstractThis study deals with two notable Dutch book collectors: Johannes F. M. Scheepers (1893-1942) and his friend Michiel Buisman (1891-1986), two men of simple origin. Since their meeting in 1929, they applied themselves, in a spirit of friendly rivalry, to the study of an area of Dutch bibliophily which had hitherto been ignored: the so-called popular prose of the 17th, 18th and 19th centuries. Relying on the pioneer work of the Amsterdam firm of Frederik Muller & Co., Scheepers and Buisman, despite modest means, assembled an enormous collection which was to form the basis of Buisman's bibliography Populaire Prozaschrijvers van 1600 tot 1815 (Amsterdam 1960). From the more than 200 remaining letters which Scheepers wrote to Buisman, we gain an impression of the way in which these two men actually set about their work. We learn of their lucky finds, their criticism of the notable scholars of literature and their growing self-awareness. The Dutch world of antiquarian bookshops and auctioning between the wars is also reflected in the correspondence. Scheepers's death in a German concentration camp abruptly ended the pact between these two men.
48
Safronova, Elena. "F. M. Dostoevsky’s Siberian Text: Problems and Perspectives." Неизвестный Достоевский 7, no. 3 (September 2020): 54–96. http://dx.doi.org/10.15393/j10.art.2020.4922.
Full textAbstract:
The review article is devoted to the analysis of studies of the Siberian period of F. M. Dostoevsky’s life and work. The main trends in the study of the author’s Siberian text are described. The entire variety of sources may be subdivided into four groups: memoirs and epistolary testimonies; journalism, biographical novels, essays, novellas, etc.; biographical studies; interpretations of Siberian works. One of the main issues is the problem of their reliability. Close to the memoir fraud remain biographical novels, biographical chronicles, documentary novels are close to being memoir falsifications, and so they often contain factual errors or free interpretation of events. They sometimes include home-grown myths about Dostoevsky's stay in Siberia, that were created by local residents. Some of these myths have already been exposed by the scientific approach. The article analyzes the biographical research of V. N. Zakharov, M. M. Gromyko, N. I. Levchenko, V. S. Vainerman, A. S. Shadrina, E. D. Trukhan, V. F. Grishaev and others. These studies are peculiar in that they are usually localized and represent research not into the Siberian text as a whole, but into its constituent parts: those related to Omsk, Kuznetsk, Tobolsk, Barnaul or Semipalatinsk. The article describes both fairly well-known and new biographical materials that have been published recently and significantly enriched the understanding of the Siberian period of the writer's biography and work, and provides an overview of interpretations of Dostoevsky's Siberian works. The paper identifies problems and outlines the perspectives of studying the Siberian text, and determines the archival collections where new documents about Dostoevsky and his environment can be discovered.
49
Ramirez Ortega, Graciela. "The reception of the novel by M. Bulgakov “Master and Margarita” in the Ibero-American cultural space." RUDN Journal of Studies in Literature and Journalism 24, no. 3 (December 15, 2019): 578–84. http://dx.doi.org/10.22363/2312-9220-2019-24-3-578-584.
Full textAbstract:
The objectives of this work is to analyze the reviews of the novel “Master and Margarita” in Latin American criticism; to identify and describe the dominant ways of reception of the novel, to draw conclusions about the features of its literacy and critical interpretation in Latin America. In this paper we have the opportunity to trace path of Bulgakov’s novel through Spain to Latin America and, in particular, to Mexico, since in most cases, Latin American countries first become acquainted with foreign works of literature through translations into Spanish from Spain, which are made for large publishing houses such as “Alianza”, “Mondadori”, “Cátedra”.
50
Miščin, Dabiel. "F. M. DOSTOEVSKY AND NIHILISTIC INTERPRETATION OF HOLBEIN'S PAINTING „DEAD CHRIST IN THE TOMB”." Folia linguistica et litteraria XII, no. 38 (November 8, 2021): 51–66. http://dx.doi.org/10.31902/fll.38.2021.3.
Full textAbstract:
Ever since Hans Holbein the Younger completed his painting, The Dead Christ in the Tomb, in 1522, a question has been looming over it, namely, what message does this dead body convey? Having seen the painting in 1847, the Russian classic writer Fyodor Dostoevsky was also intrigued by this question. In his novel, The Idiot, Ippolit Terentyev seeks to give a systematic and direct answer. The article presents a hermeneutic analysis of his position, and classifies it as nihilistic. Nihilism affects all three levels of Ippolit's discourse - the ontic, eschatological and ontological. Nevertheless, the question remains: can such nihilism be justified from the perspective of the painting itself? Posing this question in the context of Alois Riegl’s periodization of European culture has proven to be interesting. He is of the opinion that, following the era of Christian monotheism, the third and the last period of the development of European culture is the natural-scientific period. This particular period, Riegl believes, began in 1520. If we choose to accept this periodization model, The Dead Christ may be seen as one of the first paintings of the modern era, keeping in mind that Holbein painted it in 1521 and 1522. As regards the issue of the body of The Dead Christ being immersed in physical suffering to the extent that the possibility of resurrection is excluded - as Ippolit presumes - this article offers certain reasons of an anatomical nature which may be interpreted theologically and which deny the validity of Ippolit’s modern, nihilistic hypothesis in regard to the meaning of Holbein's Dead Christ.