Relevant bibliographies by topics / Melodrama History and criticism

Academic literature on the topic 'Melodrama History and criticism'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Melodrama History and criticism"

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Troxell, Jenelle. "“Light Filtering through Those Shutters”: Joyless Streets, Mnemic Symbols, and the Beginnings of Feminist Film Criticism." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 3 (December 1, 2019): 63–95. http://dx.doi.org/10.1215/02705346-7772387.

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This article examines the origin myth of the feminist film journal Close Up, namely, an excursion by its founders Bryher and H.D. to see G. W. Pabst’s Die freudlose Gasse (The Joyless Street, 1925) in a small cinema in Montreux, Switzerland. Throughout the essay, I use Joyless Street as a case study to analyze the ways in which theories of trauma can be effectively brought to bear on melodramas of the post–World War I era and, in the process, demonstrate the appeal Pabst’s works held for the Close Up editors, who shared his interest in trauma, psychoanalysis, and healing. By analyzing Joyless Street through the lens of Close Up, I demonstrate how Bryher and H.D. anticipate the development of trauma theory, which emerged in the early 1990s. Unlike traditional, often totalizing, applications of psychoanalysis (which emphasize notions of spectator desire and lack), the Close Up writers’ engagement of psychoanalysis focuses on issues of history, memory, and the response of spectators to historically specific situations. Their theory further suggests that in addition to surrogate fantasy fulfillment, film—in its recurring representation of trauma—might aid in mastering shared cultural symptoms, which women often experienced in isolation. Through their sustained analysis of film melodrama, the Close Up writers demonstrate that the war, beyond its devastating effects on combatants, also impacted the (female) civilian population—resulting in Close Up’s call for a critical film culture that speaks to that experience.
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Johnson, Carter Davis. "Beyond Melodrama." Steinbeck Review 19, no. 1 (June 1, 2022): 33–46. http://dx.doi.org/10.5325/steinbeckreview.19.1.0033.

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Abstract East of Eden is often criticized as overly symbolic and melodramatic. However, such characterizations overlook Steinbeck’s latent innovations in characterization. Rather than developing stiff allegorical figures, Steinbeck makes creative use of Carl Jung’s theory of archetypes, forming personalities that manifest psychological potentialities and transformations. In this essay, I trace the manifestations of Jungian theory across several characters in East of Eden, contrasting Steinbeck’s use of Jungian archetypes with traditional literary archetypes. Additionally, I outline how this artistic feature also displays Steinbeck’s opposition to the exclusivity of Freudian theory. If the characters and plot are viewed in the entirety of their complex Jungian influences and careful criticism of Freud, the novel is reinvigorated with creative energy that surpasses melodrama.
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Lynne Huffer. "The Persistence of Unreason: Michel Foucault's Mad Melodrama." Criticism 55, no. 4 (2013): 637. http://dx.doi.org/10.13110/criticism.55.4.0637.

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Connor, J. D. "Disappearing, Inc.: Hollywood melodrama and the perils of criticism." MLN 112, no. 5 (1997): 958–70. http://dx.doi.org/10.1353/mln.1997.0071.

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Jha, Priya. "Remembering Nargis, retellingMother India: Criticism, melodrama, and national mythmaking." South Asian Popular Culture 9, no. 3 (October 2011): 287–97. http://dx.doi.org/10.1080/14746689.2011.597967.

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Ariela Freedman. "Charlotte Salomon's Life? or Theater? A Melodrama?" Criticism 55, no. 4 (2013): 617. http://dx.doi.org/10.13110/criticism.55.4.0617.

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Finan, William W. "Behind the Melodrama." Current History 107, no. 706 (February 1, 2008): 93–94. http://dx.doi.org/10.1525/curh.2008.107.706.93.

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Catherine Russell. "The Barbara Stanwyck Show: Melodrama, Kitsch, and the Media Archive." Criticism 55, no. 4 (2013): 567. http://dx.doi.org/10.13110/criticism.55.4.0567.

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Darren Wershler. "Guy Maddin's The Night Mayor, Imaginary Media, and Contemporary Melodrama." Criticism 55, no. 4 (2013): 677. http://dx.doi.org/10.13110/criticism.55.4.0677.

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McWilliam, R. "Melodrama and the Historians." Radical History Review 2000, no. 78 (October 1, 2000): 57–84. http://dx.doi.org/10.1215/01636545-2000-78-57.

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Dissertations / Theses on the topic "Melodrama History and criticism"

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Hurley, Therese. "Jeanne d'Arc on the 1870s Musical Stage: Jules Barbier and Charles Gounod's Melodrama and Auguste Mermet's Opera." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12991.

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The purpose of this study is to examine the presentation of Joan of Arc's life in two lyric works, Jules Barbier and Charles Gounod's Jeanne d'Arc (1873) and Auguste Mermet's Jeanne d'Arc (1876), that premiered in Paris following the upheaval of the Franco-Prussian War and Paris Commune. Relying on Parisian journals of the day, I follow two trends: some critics called for a historically-informed presentation of Joan's life and others appealed to retain certain supernatural elements, specifically the Fairy Tree and the Voices, of Joan's story. In addition to these trends, I consider an article printed shortly before the premiere of Mermet's opera and discuss the political and religious implications of the final scene (Charles VII Coronation in Reims or Joan's execution in Rouen) in these two stage works. After an introductory chapter and a chapter tracing the geneses of the melodrama and the opera, the remaining chapters each deal specifically with one of the three above-mentioned lines of inquiry as they relate to Joan of Arc's story. Chapter III discusses historical characters (Charles, duc d'Orléans, King René, and Agnès Sorel), historical music (minuet and Vexilla regis), and music believed to have been sung in the presence of Joan of Arc (Veni Creator Spiritus and Orate pro ea). Chapter IV addresses the continuing presence of legendary, supernatural elements--specifically the Fairy Tree and the Voices--and how these elements have changed in nineteenth-century stage works about Joan. In Chapter V, the difficulty of adapting Joan's life on the stage is examined. A closer look reveals that differing views existed during the 1870s as to exactly what her mission entailed. The two works reflect the changing attitudes on this topic. As a whole, this dissertation offers an examination of two rarely discussed stage works that reveal the political, religious, and musical climate surrounding the figure of Joan of Arc in the 1870s.
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Oliveira, Caio Fernando de. "Literatura e história na peça D. Afonso VI de D. João da Câmara." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-28092011-121157/.

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Nesse estudo, pretenderemos inquirir sobre a construção discursiva literária da peça D. Afonso VI, do escritor português oitocentista, D. João da Câmara. A peça pretende um diálogo intertextual com a historiografia em torno do monarca português seiscentista, herdeiro dEl-Rei Restaurador D. João IV. A ficção joanina colherá na historiografia o paradigma com que dialogará, mas, ao se lançar ao trabalho artístico da palavra literária (metáfora), dessacralizará as verdades historiográficas e proporá uma visão excêntrica do passado. Não obstante, o percurso de dessacralização do passado será permeado pela cosmovisão artística dramática de D. João da Câmara que produzirá, como veremos ao final desse estudo, uma peça híbrida, que oscila entre o drama e o melodrama burgueses. D. João da Câmara, falecido há 103 anos, por sua festejada obra dramática como Os Velhos, A triste Viuvinha, O Beijo do Infante e o revolucionário O Pântano, dentre outras, merece ter seu teatro de modelo historiográfico lembrado pela crítica literária. Tentaremos cumprir, aqui, o débito com a obra do dramaturgo.
In this study, well investigate the discursive construction of the literary work D. Afonso VI, of the eighteenth-century Portuguese writer, D. João da Câmara. The text intends an intertextual dialogue with the historiography around the sixteenth-century Portuguese monarch, heir of the King Restorative D. João IV. The fiction johannine reap in the historiography the paradigm that establish a dialog, but when launching the artwork of the literary word (metaphor), desecrating the historiographical truths and propose an eccentric vision of the past. Nevertheless, the route of desecration of the past will be permeate by the dramatic artistic worldview D. João da Câmara that will produce, as we shall see the end of this study, a hybrid piece, which oscillates between drama and melodrama bourgeois. D. João da Câmara, who died 103 years ago, celebrated for his dramatic work as Os Velhos, A Triste Viuvinha, O Beijo do Infante and the revolutionary O Pântano, among others, deserve to have your theater historiographical model remembered by literary criticism. We will try to accomplish, here, the debt to the work of the playwright.
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Pinheiro, Fabio Luciano Francener. "Cinema, melodrama e história em Steven Spielberg: da representação dos traumas aos mitos fundadores." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-10072018-152026/.

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O objetivo desta tese é estudar os códigos do melodrama a partir das análises de quatro filmes históricos do cineasta Steven Spielberg: Amistad (1997), Lincoln (2012), A Lista de Schindler (1993) e O Resgate do Soldado Ryan (1998). Os títulos selecionados são reconstruções cinematográficas de acontecimentos históricos que abordam momentos emblemáticos da história americana: a escravidão e a figura de Lincoln, a participação na Segunda Guerra Mundial e o extermínio dos judeus pelos nazistas. Nossa preocupação foi a de apontar como o melodrama funde-se e se impõe sobre outros gêneros, como o drama histórico, o biopic, o Holocaust Film e o war film. As polarizações entre virtude e vilania, as surpresas e obstáculos no enredo, o jogo com as emoções dos personagens e do público e as resoluções sentimentais, próprias do melodrama, em suas distintas concepções teóricas, manifestam-se cinematograficamente e de forma autoral na construção dos planos, enquadramentos, movimentos de câmera e sobretudo na referência ao olhar e às imagens. Paralelamente à análise, trazemos contribuições de historiadores e críticos que se posicionam sobre os filmes, o que resulta em um confronto instigante entre história e liberdades ficcionais próprias ao cinema de consumo massivo.
The aim of this thesis is to study the codes of the melodrama from the analyzes of four historical films of filmmaker Steven Spielberg: Amistad (1997), Lincoln (2012), Schindler\'s List (1993) and Saving Private Ryan (1998). The titles selected are cinematic reconstructions of historical events that touch on emblematic moments in American history: slavery and the figure of Lincoln, participation in World War II, and extermination of Jews by the Nazis. Our concern was to point out how the melodrama merges and imposes itself on other genres, such as historical drama, biopic, Holocaust Film and war film. The polarizations between virtue and villainy, the surprises and obstacles in the plot, the play with the emotions of the characters and the public and the sentimental resolutions, proper to the melodrama, in their different theoretical conceptions, are manifested cinematographically and in an authorial way in the construction of the plans, frames, camera movements and above all in reference to the look and the images. Parallel to the analysis, we bring contributions from historians and critics who stand on the films, which results in an instigating confrontation between history and fictional freedoms proper to the mass consumer cinema
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Almeida, Milene Suzano de. "Melodrama bacharelesco : um estudo estilistico da recepção do caso Dreyfus no Brasil." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270007.

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Orientador: Jeanne-Marie Gagnebin
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-13T04:15:08Z (GMT). No. of bitstreams: 1 Almeida_MileneSuzanode_M.pdf: 1702820 bytes, checksum: 12779a7120d9ef0a5ee4e2442278ef30 (MD5) Previous issue date: 2009
Resumo: O objetivo inicial desta pesquisa foi investigar se a história do caso Dreyfus - na qual o oficial judeu Alfred Dreyfus foi injustamente acusado de crime de traição à pátria - teria estimulado os escritores brasileiros. Porém, diferentemente da França, onde escritores como Anatole France, Marcel Proust e o próprio Émile Zola inseriram eventos do caso em seus romances, por aqui, nada foi encontrado no mesmo nível, apesar da forte presença do caso nos meios de comunicação. Partiu-se então para a análise de crônicas, artigos em revistas e outras fontes no intuito de pensar a recepção a partir de um estilo de escrita comum. Este estilo de escrita teve como fonte teórica principal o modo melodramático elaborado por Peter Brooks (1995), a partir do qual foi feita uma primeira análise dos textos encontrados nos arquivos visitados (Casa de Rui Barbosa, Arquivo Edgar Leuenroth e Arquivo Histórico Judaico Brasileiro). Feita esta primeira abordagem, buscou-se agregar um outro elemento, desta vez restrito ao universo brasileiro: um estilo bacharelesco (advindo das escolas de direito) que pareceu presente na maior parte dos textos analisados. Por fim, tentou-se compor as características deste híbrido, denominado aqui como "melodrama bacharelesco" no intuito de pensar um todo possível da recepção do caso Dreyfus no Brasil.
Abstract: The initial goal of this research was to investigate if Dreyfus affair's history - in which the jewish officer Alfred Dreyfus was unfaithfully accused of home betrayal - would have stimulated brazilian writers. Although, unlikely in France, where writers such as Anatole France, Marcel Proust and Zola himself put some affair's events inside their novels, here nothing was found on the same level, despite the affair's strong presence in brazilian media. Then, we start to analyse some chronicles, magazine articles and other sources aiming to elaborate the reception based on a common writing style. This style has as the main theoric source the melodramatic imagination by Peter Brooks (1995), based on which we analyse some of the documents found in our archive research (Casa de Rui Barbosa, Arquivo Edgar Leuenroth e Arquivo Histórico Judaico Brasileiro). After this first approach, we tried to integrate another idea, specifically attached to the brazilian scenario: an "bacharelesco" style (derived from the law rhetoric) that seemed to appear in the majority of the analysed texts. Finally, we tried to compose the caracteristics of this hybrid, here called "melodrama bacharelesco", in an attempt to achieve a large and possible understanding of of Dreyfus affair's reception in Brazil.
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
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Simpson, Nigel. "Post-structuralism and history." Thesis, University of Sussex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282616.

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Tener, John V. "Exhibiting the Victorians: Melodrama and Modernity in Post Civil War American Show Prints." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149259715322474.

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Bork, Debora J. "History and criticism of photographically illustrated children's books /." Online version of thesis, 1988. http://hdl.handle.net/1850/11490.

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Riding, Christopher John Livsey. "The art criticism and history of Michael Fried." Thesis, University of Leeds, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272737.

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Amley, Hollis Marie. "The Evolution of Criticism on Jean-François Millet." NCSU, 2005. http://www.lib.ncsu.edu/theses/available/etd-03282005-154529/.

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AMLEY, HOLLIS MARIE. The Evolution of Criticism on Jean-François Millet. (Under the direction of Keith Luria.) The nineteenth-century French painter Jean-François Millet?s social context, compositional style, and rustic subject matter invite a wide variety of interpretations of his art. To his biographer and contemporary Alfred Sensier, the rustic canvases were the work of a stoic ?peasant painter,? removed from the political controversies of his day. To the Marxist art historian T. J. Clark, on the other hand, Millet?s paintings interacted with and challenged the dominant values and institutions of the Second Republic. To the social art historian Robert Herbert, the paintings reveal the artist?s response to urban-industrial change and his Parisian exodus. In presenting these three formative readings of Millet?s canvases, this thesis demonstrates how each particular writer?s vantage point in history affected both his methodology and vision of the artist?s identity. The criticism on Millet shows not merely a series of antithetical, isolated opinions, but a kind of evolution, one that has gradually come to include both the artist and the society in which he worked.
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Ryan, Matthew. "Self, nation and novel in contemporary Irish writing." Monash University, Centre for Comparative Literature and Cultural Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5421.

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Books on the topic "Melodrama History and criticism"

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Gurumurthy, Premeela. Kathakalaksepa, a study. Madras: International Society for the Investigation of Ancient Civilizations, 1994.

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Dakovic, Nevena. Melodrama nije žanr: Holivudska melodrama, 1940-1960. Novi Sad: Prometej, 1994.

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Musica e dramma nel "dramma per musica": Aspetti dell'opera seria da Pergolesi a Mozart. Bari: Progedit, 2012.

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Ríos-Font, Wadda C. Rewriting melodrama: The hidden paradigm in modern Spanish theater. Lewisburg, Pa: Bucknell University Press, 1997.

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Flores, Roberto D. Fotonovela argentina : heredera del melodrama. Capital Federal: Asociación Argentina de Editores de Revistas, 1995.

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Università degli studi di Milano-Bicocca, ed. Arrigo Boito librettista, tra poesia e musica: La 'forma ideal', purissima del melodramma italiano. Firenze: Franco Cesati, 2013.

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Przyboś, Julia. L' entreprise mélodramatique. Paris: Corti, 1987.

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Dickens, melodrama, and the parodic imagination. New York: AMS Press, 2002.

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Melodrama and meaning: History, culture, and the films of Douglas Sirk. Bloomington: Indiana University Press, 1994.

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1944-, Gubar Susan, ed. Masterpiece theatre: An academic melodrama. New Brunswick, N.J: Rutgers University Press, 1995.

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Book chapters on the topic "Melodrama History and criticism"

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Shattock, Joanne, Joanne Wilkes, Katherine Newey, and Valerie Sanders. "Henry Barton Baker, ‘The Old Melodrama’." In Literary and Cultural Criticism from the Nineteenth Century, 67–74. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-12.

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Shattock, Joanne, Joanne Wilkes, Katherine Newey, and Valerie Sanders. "Melodrama and the shock of the new." In Literary and Cultural Criticism from the Nineteenth Century, 31–74. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-4.

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Vincent-Buffault, Anne. "The Misfortunes of the Melodrama." In The History of Tears, 226–40. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21317-7_13.

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Millgate, Jane. "Biography, History, Criticism." In Macaulay, 98–115. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003335412-6.

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Capecchi, Danilo. "Poinsot’s criticism." In History of Virtual Work Laws, 335–51. Milano: Springer Milan, 2012. http://dx.doi.org/10.1007/978-88-470-2056-6_14.

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Shingler, Martin. "Now, Voyager (1942): Melodrama Then and Now." In The New Film History, 152–65. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1007/9780230206229_11.

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Bowring, Jacky. "History of landscape architectural criticism." In Landscape Architecture Criticism, 9–18. Milton Park, Abingdon, Oxon ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429450983-2.

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Rajan, B. "6. Scholarship and Criticism." In Literary History of Canada, edited by William New, Carl Berger, Alan Cairns, Francess Halpenny, Henry Kreisel, Douglas Lochhead, Philip Stratford, and Clara Thomas, 133–58. Toronto: University of Toronto Press, 1990. http://dx.doi.org/10.3138/9781487589547-008.

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Baldoli, Claudia. "A National Melodrama: The Epic of the Risorgimento." In A History of Italy, 162–203. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-01366-8_6.

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de Roo, Jos. "Antillean Literary Criticism." In Comparative History of Literatures in European Languages, 645–50. Amsterdam: John Benjamins Publishing Company, 2001. http://dx.doi.org/10.1075/chlel.xv.62roo.

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Conference papers on the topic "Melodrama History and criticism"

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Zou, Jie, and Shunhui Wang. "History of Feminist Criticism in Japan." In Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.245.

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Макарьев, И. В. "Friedrich Schlegel's understanding of history in the context of the philosophy of history of the XX – early XXI centuries." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.83.19.061.

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в философии истории ХХ в. можно выделить двоякую тенденцию. С одной стороны, классическая философия истории подвергается радикальной критике (в немецкой философской герменевтике, французском структурализме и постструктурализме, англоязычной аналитической философии), а с другой стороны, она продолжается и развивается в различных концепциях и теориях («столкновение цивилизаций» С. Хантингтона, «конец истории» Ф. Фукуямы). Такая двойственность (критика философии истории и ее развитие) не является характеристикой только нашей современности. Выдающийся немецкий филолог и философ Фридрих Шлегель (1772–1829) в ситуации философской революции рубежа XVIII–XIX вв. постарался соединить эти две позиции в одну, что и стало предметом анализа автора статьи. in the philosophy of the history of the twentieth century, a twofold tendency can be distinguished. On the one hand, the classical philosophy of history is subjected to radical criticism (in German philosophical hermeneutics, French structuralism and poststructuralism, English-speaking analytical philosophy), and on the other hand, it continues and develops in various concepts and theories (S. Huntington's "clash of civilizations", "end of history" F. Fukuyama). Such duality (criticism of the philosophy of history and its development) is not a characteristic only of our modernity. The outstanding German philologist and philosopher Friedrich Schlegel (1772–1829), in the situation of the philosophical revolution at the turn of the 18th–19th centuries, tried to combine these two positions into one, , which became the subject of the analysis of the author of the article.
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Shcherbina, M. M. "Beading the womantory: art project as a way to tell about women’s history." In CULTURAL STUDIES AND ART CRITICISM: THINGS IN COMMON AND DEVELOPMENT PROSPECTS. Baltija Publishing, 2020. http://dx.doi.org/10.30525/978-9934-26-004-9-72.

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VUKIC, Fedja. "Art criticism and the semantic construction of the concept of Design." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-109.

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"A Study of the Literary Criticism Style in Xia Zhiqing's The History of Chinese Modern Novels." In 2017 4th International Conference on Literature, Linguistics and Arts. Francis Academic Press, 2017. http://dx.doi.org/10.25236/iclla.2017.45.

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Kolomiets, G. "ON THE QUESTION OF MUSICAL HERMENEUTICS IN AESTHETICS." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2548.978-5-317-06726-7/65-69.

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The report assumes a dialogue between aesthetic and art history methods of interpreting a piece of music. Musical hermeneutics in art criticism, guided by a more historical, educational and detailed approach, is complemented by an anthropo-axiological method in aesthetics.
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Carkovs, Olegs, and dr oec. "Historical Dynamic Modeling (Simulation Experience)." In International Conference on Signal Processing and Vision. Academy and Industry Research Collaboration Center (AIRCC), 2022. http://dx.doi.org/10.5121/csit.2022.122213.

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The present work "synchronizes" the achievements in various fields of natural science (mathematics, cybernetics, information theory, sociology, economics and history) to understand the modern picture of the world. The conceptual model proposed in the paper is simplified and serves to illustrate certain socioeconomic processes of the past and present. Undoubtedly, there is a "confirmation bias", since there is an element of subjectivism in every analysis. It can only be overcome by constructive criticism, not by ignoring facts, rejecting mathematical proofs and denying logical conclusions, for "Facts do not cease to exist because they are ignored" ( Aldous Huxley).
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Santos de Brito, Rose Dayanne. "ROMAN AND MODERN CONCEPT OF SLAVERY." In XVI Majsko savetovanje. University of Kragujevac, Faculty of Law, 2020. http://dx.doi.org/10.46793/upk20.975s.

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Roman law was accused of legitimizing slavery in ancient times and individualism in modernity. This article seeks to refute these anti-historical formulations. For this, it adopts the ontological difference between Celso’s Roman conception (law as the art of the good and the just) and Kelsen’s modern one (law as a set of norms). The distinctions between the legal regime of slavery in ancient society and modernity will be analyzed from an exercise of the history of law, based on the synchronic and diachronic method. Finally, Roman law appears as an instrument of criticism in order to confront legal institutes of private bourgeois law.
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Zlotnikova, Tatyana. "Power in Russia: Modus Vivendi and Artis Imago." In Russian Man and Power in the Context of Dramatic Changes in Today’s World, the 21st Russian scientific-practical conference (with international participation) (Yekaterinburg, April 12–13, 2019). Liberal Arts University – University for Humanities, Yekaterinburg, 2019. http://dx.doi.org/10.35853/ufh-rmp-2019-pc02.

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Contemporary Russian socio-cultural, cultural and philosophical, socio psychological, artistic and aesthetic practices actualize the Russian tradition of rejection, criticism, undisguised hatred and fear of power. Today, however, power has ceased to be a subject of one-dimensional denial or condemnation, becoming the subject of an interdisciplinary scientific discourse that integrates cultural studies, philosophy, social psychology, semiotics, art criticism and history (history of culture). The article provides theoretical substantiation and empirical support for the two facets of notions of power. The first facet is the unique, not only political, but also mental determinant of the problem of power in Russia, a kind of reflection of modus vivendi. The second facet is the artistic and image-based determinant of problem of power in Russia designated as artis imago. Theoretical grounds for solving these problems are found in F. Nietzsche’s perceptions of the binary “potentate-mass” opposition, G. Le Bon’s of the “leader”, K.-G. Jung’s of mechanisms of human motivation for power. The paper dwells on the “semiosis of power” in the focus of thoughts by A. F. Losev, P. A. Sorokin, R. Barthes. Based on S. Freud’s views of the unconscious and G. V. Plekhanov’s and J. Maritain’s views of the totalitarian power, we substantiate the concept of “the imperial unconscious”. The paper focuses on the importance of the freedom motif in art (D. Diderot and V. G. Belinsky as theorists, S. Y. Yursky as an art practitioner). Power as a subject of influence and object of analysis by Russian creators is studied on the material of perceptions and creative experience of A. S. Pushkin (in the context of works devoted to Russian “impostors” by numerous authors). Special attention is paid to the early twenty-first century television series on Soviet rulers (Stalin, Khrushchev, Brezhnev, Furtseva). The conclusion is made on the relevance of Pushkin’s remark about “living power” “hated by the rabble” for contemporary Russia.
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Kenyhercz, Róbert. "Interpretation of data and sources in etymological research." In International Conference on Onomastics “Name and Naming”. Editura Mega, 2022. http://dx.doi.org/10.30816/iconn5/2019/39.

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The aim of the paper is to emphasize the importance of source criticism in etymological research. It is widely known that the main sources for the early history of toponyms in the Carpathian Basin are the charters created in the medieval Hungarian Kingdom, because these official documents contained a large number of vernacular proper names embedded in the Latin text. However, it is important to mention that the medieval charters were produced by the chancery and places of authentication along specific principles and needs. I argue that this circumstance must always be considered during the interpretation of the data. I will show some examples illustrating that – in certain cases – we have to take into account the nature of the sources in the reconstruction of the genesis of place names. My goal is to offer a brief outline of this issue through my own investigations.
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Reports on the topic "Melodrama History and criticism"

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Halych, Valentyna. SERHII YEFREMOV’S COOPERATION WITH THE WESTERN UKRAINIAN PRESS: MEMORIAL RECEPTION. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11055.

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The subject of the study is the cooperation of S. Efremov with Western Ukrainian periodicals as a page in the history of Ukrainian journalism which covers the relationship of journalists and scientists of Eastern and Western Ukraine at the turn of the XIX-XX centuries. Research methods (biographical, historical, comparative, axiological, statistical, discursive) develop the comprehensive disclosure of the article. As a result of scientific research, the origins of Ukrainocentrism in the personality of S. Efremov were clarified; his person as a public figure, journalist, publisher, literary critic is multifaceted; taking into account the specifics of the memoir genre and with the involvement of the historical context, the turning points in the destiny of the author of memoirs are interpreted, revealing cooperation with Western Ukrainian magazines and newspapers. The publications ‘Zoria’, ‘Narod’, ‘Pravda’, ‘Bukovyna’, ‘Dzvinok’, are secretly got into sub-Russian Ukraine, became for S. Efremov a spiritual basis in understanding the specifics of the national (Ukrainian) mass media, ideas of education in culture of Ukraine at the end of XIX century, its territorial integrity, and state independence. Memoirs of S. Efremov on cooperation with the iconic Galician journals ‘Notes of the Scientific Society after the name Shevchenko’ and ‘Literary-Scientific Bulletin’, testify to an important stage in the formation of the author’s worldview, the expansion of the genre boundaries of his journalism, active development as a literary critic. S. Yefremov collaborated most fruitfully and for a long time with the Literary-Scientific Bulletin, and he was impressed by the democratic position of this publication. The author’s comments reveal a long-running controversy over the publication of a review of the new edition of Kobzar and thematically related discussions around his other literary criticism, in which the talent of the demanding critic was forged. S. Efremov steadfastly defended the main principles of literary criticism: objectivity and freedom of author’s thought. The names of the allies of the Ukrainian idea L. Skochkovskyi, O. Lototskyi, O. Konyskyi, P. Zhytskyi, M. Hrushevskyi in S. Efremov’s memoirs unfold in multifaceted portrait descriptions and function as historical and cultural facts that document the pages of the author’s biography, record his activities in space and time. The results of the study give grounds to characterize S. Efremov as the first professional Ukrainian-speaking journalist.
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Carty, Anthony, and Jing Gu. Theory and Practice in China’s Approaches to Multilateralism and Critical Reflections on the Western ‘Rules-Based International Order’. Institute of Development Studies (IDS), October 2021. http://dx.doi.org/10.19088/ids.2021.057.

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China is the subject of Western criticism for its supposed disregard of the rules-based international order. Such a charge implies that China is unilateralist. The aim in this study is to explain how China does in fact have a multilateral approach to international relations. China’s core idea of a community of shared future of humanity shows that it is aware of the need for a universal foundation for world order. The Research Report focuses on explaining the Chinese approach to multilateralism from its own internal perspective, with Chinese philosophy and history shaping its view of the nature of rules, rights, law, and of institutions which should shape relationships. A number of case studies show how the Chinese perspectives are implemented, such as with regards to development finance, infrastructure projects (especially the Belt and Road Initiative), shaping new international organisations (such as the Asian Infrastructure Investment Bank), climate change, cyber-regulation and Chinese participation in the United Nations in the field of human rights and peacekeeping. Looking at critical Western opinion of this activity, we find speculation around Chinese motives. This is why a major emphasis is placed on a hermeneutic approach to China which explains how it sees its intentions. The heart of the Research Report is an exploration of the underlying Chinese philosophy of rulemaking, undertaken in a comparative perspective to show how far it resembles or differs from the Western philosophy of rulemaking.
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