Journal articles: 'Virgil reception in the 20th Century'

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Кусенко, Ольга Игоревна. "CURRENT RECEPTION OF VLADIMIR ZABUGINN’S WORKS IN ITALY." Вестник Тверского государственного университета. Серия: Философия, no. 3(53) (October 30, 2020): 248–56. http://dx.doi.org/10.26456/vtphilos/2020.3.248.

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В начале 2000-х гг. в Италии были переизданы два ключевых труда русского филолога, мыслителя Владимира Николаевича Забугина: «Вергилий в итальянском Возрождении: от Данте до Торквато Тассо» и «История христианского Возрождения в Италии». Переиздание этих работ повлекло за собой новую волну интереса к наследию русского автора первой четверти XX в., жившего и работавшего в Италии. После долгих лет забвения труды Забугина о Вергилии, Помпонии Лете, Данте, истории итальянского Возрождения признаны классикой итальянской науки и переоценена его роль в герменевтическом обновлении истории искусств, главными героями которого были Аби Варбург и его школа. Об актуальной рецепции творчества Забугина в Италии пойдет речь в настоящей статье. In the early 2000s, two main works of the key Russian figure in the field of Italian Studies, philologist and thinker Vladimir Nikolaevich Zabugin «Virgil in the Italian Renaissance: from Dante to Torquato Tasso» and «The History of the Christian Renaissance in Italy» were republished in Italy. These editions provoked a new wave of interest to historical and philosophical heritage of the Russian author of the first quarter of the 20th century, who lived and worked in Italy. Previously neglected and forgotten Zabugin’s works on Virgil, Pomponius Lete, Dante, on the history of the Italian Renaissance were recognized as outstanding by leading historians, philologists, philosophers. Finally, his contribution to the hermeneutical turn of art history (whose main characters are considered Abi Warburg and his school) was also appreciated. The paper guides the reader through this current rediscovery and reception of Zabugin’s work in Italy with particular focus on his contribution to the field of renaissance studies.

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García Jurado, Francisco. "Claves y documentos para un Virgilio posmoderno: los años ochenta del siglo XX en España." Nova Tellus 39, no. 1 (January 27, 2021): 171–203. http://dx.doi.org/10.19130/iifl.nt.2021.39.1.27548.

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In the eighties of 20th century, Vergil was interpreted from a precise and particular approach inspired by Nietzsche. This new vision could be categorized, basically, as the idea of death (Broch), the sickness of poetry (García Calvo), the commemoration (remembrance) of the bimillennium of his death (Colinas), his poetic rereading from a new aesthetics (Borges and Bernhard), the boom of verse translation (Fontán Barreiro) and, finally, the remarkable pictorial rereading of his Eneida (Carlos Franco). Therefore, this essay tries to give an account of a specific decade in Vergil´s historical reception.

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Demchuk, Stefaniia, and Yuliia Kizyma. "Between the sacred and the decorative: Сhristian iconography in the sketches for "Lily" decorative panel by Mykhailo Zhuk." Text and Image: Essential Problems in Art History, no. 1 (2020): 102–13. http://dx.doi.org/10.17721/2519-4801.2020.1.07.

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Mykailo Zhuk was a graphic artist and a writer who is among the most famous and influential figures in the history of the early 20th century Ukrainian art. His artworks bear the mark of the in-depth reception of the Art Nouveau style. Although art historians who studied Zhuk’s early period (1904 - 1918) did mention the complex symbolism of his works (including that of the sketches for the floral panels which we shall examine), they avoided plunging deeper in the semantic interweaving he indulged himself in. Thus, this essay shall examine the two panels titled “Lilies”, which were treated mostly as ornamental works deprived of any hidden meaning. It seems that the formal and stylistic analysis should be complemented with the other methods. The iconographic analysis shall allow us to interpret Zhuk’s symbolic language and to discern different semantic layers, and the comparative historical analysis shall help to distinguish typical and individual features in Zhuk’s artworks, which, in its turn, shall allow us to put the artist's work within the pan-European artistic context.Images in Zhuk’s case were supplemented with texts. We could not avoid studying them along with the sketches for they contained the same motives as his graphic works. By means of content analysis we analysed how the artists addressed the image of lily and discovered the biblical bias of its representation in Zhuk’s texts and images. The iconography of the “Lilies”, we suggest, has no direct predecessors and is mainly based on the author’s interpretation of St. John’s Revelation or on works of his teacher at the Krakow Academy of Arts, Stanislaw Wyspiański. For Wyspiański used floral motifs on numerous occasions and experimented with the iconographic types of Virgin Mary in his monumental religious works.

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Cullhed, Sigrid Schottenius. "IN BED WITH VIRGIL: AUSONIUS’WEDDING CENTOAND ITS RECEPTION." Greece and Rome 63, no. 2 (September 16, 2016): 237–50. http://dx.doi.org/10.1017/s0017383516000115.

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Judging from its history of effect, theWedding Centoproduced by the fourth-century poet Ausonius is in fact not a poem about a wedding at all. It is a work about the ethics of textual recycling; about the impact of political power and patronage on literary production; about smut, or rather about where the responsibility lies when a reader sees smut when none was intended. It is also a poem about sexual violence, but this aspect of the text has been largely missing in its scholarly reception. Such an absence is perhaps to be expected. Sexual assault is a notoriously under-reported offence, and its invisibility tends to extend into the realm of artistic representation and its scholarly treatment. During the last couple of decades, for instance, film scholars have addressed the need to re-read cinematic portrayals of rape in order to unearth it from ‘metaphor and euphemism, naturalized plot device and logical consequence…restoring rape to the literal, to the body: restoring that is, the violence – the physical, sexual violation’. This issue must be addressed here, but first a few words about theCentoand the most prominent trends in its reception.

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La Bua, Giuseppe. "LATE CICERONIAN SCHOLARSHIP AND VIRGILIAN EXEGESIS: SERVIUS AND PS.-ASCONIUS." Classical Quarterly 68, no. 2 (December 2018): 667–80. http://dx.doi.org/10.1017/s0009838818000551.

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Late Antiquity witnessed intense scholarly activity on Virgil's poems. Aelius Donatus’ commentary, the twelve-bookInterpretationes Vergilianaecomposed by the fourth-century or fifth-century rhetorician Tiberius Claudius Donatus and other sets of scholia testify to the richness of late ‘Virgilian literature’. Servius’ full-scale commentary on Virgil's poetry (early fifth century) marked a watershed in the history of the reception of Virgil and in Latin criticism in general. Primarily ‘the instrument of a teacher’, Servius’ commentary was intended to teach students and readers to read and write good Latin through Virgil. Lauded by Macrobius for his ‘learning’ (doctrina) and ‘modesty’ (uerecundia), Servius attained supremacy as both a literary critic and an interpreter of Virgil, the master of Latin poetry. Hisauctoritashad a profound impact on later Virgilian erudition. As Cameron notes, Servius’ commentary ‘eclipsed all competition, even Donatus’. Significantly, it permeated non-Virgilian scholarship from the fifth century onwards. The earliest bodies of scholia on Lucan, the tenth-century or eleventh-centuryCommenta BernensiaandAdnotationes super Lucanumand thescholia uetustioraon Juvenal contain material that can be traced as far back as Servius’ scholarly masterpiece.

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Kuzina, N. "Reception of the Manifestations of the Culture of Egypt in Russian Literature." Bulletin of Science and Practice 5, no. 11 (November 15, 2019): 395–403. http://dx.doi.org/10.33619/2414-2948/48/49.

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The paper presents analysis of historiosophical themes, images and motifs reflecting the Egyptian culture in Russian literature of the 19th–20th centuries. They were popular among the authors of the early 20th century not only because of interest in artifacts found in the 19th century but also — and first of all — as part of a significant metaphor ‘Pre-revolutionary / Post-revolutionary Russia VS. Egypt’. There is shown the process of creating this comparison being much later than the ‘Russia VS. Europe’ paradigm in the context of the ‘Myth of St. Petersburg’, which included elements of the Egyptian theme (Sphinxes of the Neva) by the 20th century.

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Terekhova, M. V. "Semiotics of formal menswear of early 20th century." Vestnik of Saint Petersburg State University of Culture, no. 1 (30) (March 2017): 71–74. http://dx.doi.org/10.30725/2619-0303-2020-3-71-74.

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The complex of problems accompanying a process of modern-day reception of historical costume is analyzed. Formal menswear is researched as a hierarchically organized communicational system of semantic elements only conceivable by actors, familiarized with particular semiotic code of the culture. The case of modern-day museum reconstruction of formal menswear of the early XX century is used to illustrate the reasons behind the retrospective semantic misinterpretation of historical costume. In the particular case, a waiter’s uniform was mistakenly perceived by researcher as a typical urban menswear of the 1900’s. A semantic reconstruction of authentic vestimentary codes and meanings was carried out.

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Trupej, Janko. "Ideological Influences on the Reception of Mark Twain among Slovenians across the Atlantic." Acta Neophilologica 52, no. 1-2 (December 17, 2019): 141–52. http://dx.doi.org/10.4312/an.52.1-2.141-152.

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The article discusses the reception of Mark Twain and his works in serial publications by Slovenian immigrants in the United States of America. The analysis encompassed writings published in newspapers and magazines with different ideological orientations, from the beginning of the 20th century to mid-century. The article compares Twain’s reception in left-wing and right-wing publications and furthermore discusses the extent to which the reception was affected by the contemporary political situation in the United States.

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Do, Hieu Van. "Reception aesthetics in Vietnam." Science and Technology Development Journal 16, no. 2 (June 30, 2013): 47–57. http://dx.doi.org/10.32508/stdj.v16i2.1462.

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Reception aesthetics is a theory of literature which has exerted major impacts throughout the world from the late 1960s to the late 1980s in the West, espacially dymanically in China from the 1980s of the 20th century to the first decade of the 21st century. In Vietnam, although this theory was born quite early (1985), its mark is still not deeply engraved; thus a lot of potentials not having been discovered and utilized. Recreating the complete appearance of reception aesthetics in Vietnam and explaining the cause of that appearance is an important basis for discussion about the reception of foreign theory. How to make Vietnam literature theory integrated and successfully communicated with the world literature theory? How to make the most effective use of the Western theory in solving problems of the local literature? How to build a firm theory background imbued with national identities in the context of globalization? etc. are the author’s issues of great concerns.

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Sachkova, Natalya M. "CULTURAL RECEPTION OF YOGA ANTHROPOLOGY IN RUSSIA IN THE EARLY 20TH CENTURY." Studia Religiosa Rossica: Russian Journal of Religion, no. 4 (2020): 82–99. http://dx.doi.org/10.28995/2658-4158-2020-4-82-99.

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The research examines the specifics of reception of Yoga anthropology in Russia and its dissemination paths. The end of 19th – early 20th century was marked by the appearance of Russian translations of the academic research, in which Yoga was viewed as one of the Indian philosophical schools. In the same time, the West was witnessing an onset of popularization of Yoga by representatives of Neo-Vedanta, whose writings were also translated into Russian. Those writings were of a popular nature, since their authors sought to make Yoga understandable for Western readers. For the Occult community, the practical aspect of Yoga was the most attractive one. Occultists regarded Yoga as a method of anthropological perfection – both spiritual and physical – and eventual attainment of superhuman powers. Yoga popularization in Russia was to a considerable extent promoted by theosophists, who built their interpretations on contrasting Hatha Yoga and Raja Yoga. In the writings of theosophists, Yoga was presented as a path to attaining arcane knowledge. Russian Occultists created their original interpretations of Yoga. Christian theosophist M.V. Lodyzhensky, despite of considering Yoga as a path to attaining the Superconscious, gave it less appreciation compared to Christian heritage, thus emphasizing the supremacy of Christian tradition. P.D. Uspensky viewed Yoga through the lens of his concept of the Superman, and believed that Yoga practice is a way to achieve an overhuman condition, which the entire humanity will ultimately reach. The interest of Russian community to Yoga should be considered in the context of interest towards the Eastern culture and the belief in the possibility of upcoming transformation of the human nature that were common with the European society of that age

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Deogsu Kim. "Roman Reception of Hellenism and the ‘Romanization’ from the 3rd Century B.C. to 1st Century B.C. - Terence to Virgil." Journal of Mediterranean Area Studies 18, no. 1 (February 2016): 61–83. http://dx.doi.org/10.18218/jmas.2016.18.1.61.

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Stuart, Akvilė. "A sick genius? The critical reception of Alexei Stanchinsky." Muzikologija, no. 30 (2021): 19–33. http://dx.doi.org/10.2298/muz2130019s.

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This article examines the critical reception of the Russian composer Alexei Stanchinsky (1888-1914). It focuses on the critical reviews published in Russian newspapers and musical periodicals during Stanchinsky?s lifetime. Its findings are a result of original archival research conducted in Moscow in 2019. This study shows that Stanchinsky?s work received a more mixed reception during his lifetime than previously claimed. As such, it provides a more nuanced insight into Stanchinsky?s reception, as well as the views and prejudices of early 20th century Russian music critics.

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Kašparová, Jaroslava. "Personal Libraries in the National Museum – a Valuable Source of Information on the History of Book Culture in the 19th Century and the Early 20th Century." Acta Musei Nationalis Pragae – Historia litterarum 63, no. 3-4 (2019): 105–13. http://dx.doi.org/10.2478/amnpsc-2018-0014.

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Book collections from the 19th century and the first half of the 20th century preserved in the NM are among the richest and most interesting book collections of the Czech Republic. Research into personal book collections of the NM within the NAKI project (2012–2015), including besides the historical book collection also books from the 19th and 20th centuries, has provided valuable information on the history of the entire book culture. The PROVENIO database is an important source of information and knowledge in terms of book owners and ownership provenance, library history, bibliophilia and the reception by readers, as well as the history of book binding, book publishing houses and book trade of the given period.

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Fenyő, Imre. "The Reception of John Dewey in Hungary." Espacio, Tiempo y Educación 3, no. 2 (July 18, 2016): 183. http://dx.doi.org/10.14516/ete.2016.003.002.008.

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The 20th century is the century of discontinuity in Hungary. Therefore, the image of the reception of John Dewey’s work can be a mosaic only and sometimes incomplete, where the gaps are no less meaningful than in other cases the elements abundance. Despite this fragmentation is still worth to keep tracking of the formations in which a science constantly re-evaluates and re-interprets its own classics, as sources of legitimacy. In this paper we would like to demonstrate the dual (political and scientific) determinism of Dewey’s Hungarian reception, with presenting Dewey’s works published in Hungary, respectively present the scientific publications related to his work and at times to his person. We do not want to provide a mere register of the Hungarian Dewey-literature, but we would like to outline the effects that determined the scientific opinions which have helped or discouraged propagate of Dewey’s ideals in Hungary.

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Relebogilwe Kleinhempel, Ullrich. "Africa’s influence on European culture: conditions, impact and pathways of reception and Placide Tempels’ Bantu Philosophy." Numen 22, no. 1 (February 11, 2020): 125–46. http://dx.doi.org/10.34019/2236-6296.2019.v22.29624.

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Placide Tempels was a pioneer in presenting Bantu philosophy in the mid-20th century as a serious ontological and metaphysical system. His book stands in the context of Europe’s discovery of African art and of its aesthetics. In this article the conditions for this reception and the resonance of key motifs of Bantu philosophy with developments in European culture are discussed. Fields of cultural and epistemic difference which persist are identified for further consideration and suggestions for further reception are indicated.

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Sedláčková, Lucie. "Circulatie van Nederlandstalig toneel in Tsjechië, 1898–1989." Neerlandica Wratislaviensia 28 (June 26, 2019): 165–81. http://dx.doi.org/10.19195/0860-0716.28.13.

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Circulation of Dutch plays in Czech, 1898–1989 This article deals with the circulation of Dutch and Flemish dramatic texts in the Czech lands between 1898 – when the first translation of a Dutch theatre play was probably published – and 1989 – the year of the Velvet Revolution, after which the cultural field changed radically. It is a fact that relatively few Dutch and Flemish plays have been translated into Czech. The same is true of the actual production of the plays in Czech translation: these were rather sporadic throughout the whole 20th century, except for several plays by Herman Heijermans which were staged quite regularly in the first decades of the 20th century. This article surveys the different periods of the 20th century and provides an outline of the development of the Czech reception of Dutch and Flemish drama, including a dramatic mystification during the World War II.

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Masnikosa, Marija. "The reception of minimalist composition techniques in Serbian music of the late 20th century." New Sound, no. 40-2 (2012): 181–90. http://dx.doi.org/10.5937/newso1202181m.

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Rzepecki, Karol. "Recepcja twórczości Józefa Wieniawskiego w świetle XIX-wiecznego piśmiennictwa – przegląd źródeł." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 105–39. http://dx.doi.org/10.4467/23537094kmmuj.20.019.13205.

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Reception of Joseph Wieniawski’s work in the light of nineteenthcentury literature – a review of sources The work of Polish composers active at the turn of the 20th century has largely been forgotten, awaiting to be researched nowadays. Józef Wieniawski and his output, which used to attract the attention of Polish and foreign critics, is the case in point. This article seeks to provide a synthetic study of this issue on the basis of 19th century literature.

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Hutchinson Miller, Carmen. "‘El trabajo dignifica’ Twentieth Century Afro-Costa Rican Women and Informal Work in Port Limon, Costa Rica." Revista Nuevo Humanismo 6, no. 2 (April 9, 2019): 39. http://dx.doi.org/10.15359/rnh.6-2.1.

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The patriarchal system has convinced most that women’s respectable place and function are exclusively within the private space of the home. When women ‘transgress’ and venture out into the public sphere by choice or by force, the reception is far from welcoming both by individuals and institutions. The analysis seeks to enquire, based on women of African descent history, how this ideology affects their participation in the public sphere. The main objective is to unearth and make visible some of the informal financial activities women were involved in during the 20th century in Port of Limon, Central America, Costa Rica. The information was gathered through interviews, some early 20th-century newspaper research, and other documentation. The analysis is conducted from a historical and gender perspective.

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Lozinskaya, Evgeniia. "AFTER WEINBERG. BOOK REVIEW: THE RECEPTION OF ARISTOTLE’S POETICS IN THE ITALIAN RENAISSANCE AND BEYOND. NEW DIRECTIONS IN CRITICISM / ED. BY BRAZEAU B." RZ-Literaturovedenie, no. 1 (2021): 23–52. http://dx.doi.org/10.31249/lit/2021.01.02.

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The book written by an international team of scholars and edited by B. Brazeau explores literary criticism and reception of Aristotle's «Poetics» in early modern Italy. Revisiting the «intellectual history» of Renaissance poetic studies written by Bernard Weinberg in 1960-s, the contributors find its own place whithin the 2000-years long tradition of translations, commentaries and polemic treatises. The authors apply new methods from book history, translation studies, history of emotions and classical reception to early modern Italian texts, placing them in dialogue with 20th-century literary theory, and thus map out avenues for future study.

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Mikhailovsky, Alexander. "Max Scheler on Fyodor Dostoevsky's Political Orthodoxy and Russian Love for Suffering." Philosophy. Journal of the Higher School of Economics V, no. 1 (March 31, 2021): 201–15. http://dx.doi.org/10.17323/2587-8719-2021-1-201-215.

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The article is an introduction to the first Russian translation of Max Scheler's essay “On Eastern and Western Christianity”, which was published in the collection of articles “War and Reconstruction” (1916) and thus forms part of Scheler's war philosophy. The article presents the polemical context of this essay and establishes a connection with Scheler's axiology and phenomenology as well. Particular attention is paid to the reception of F.M. Dostoevsky among German intellectuals of the early 20th century and the influence of this reception on Scheler's understanding of the ideas of salvation and suffering in the Eastern Church.

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Gaszyńska-Magiera, Małgorzata. "Literatura y política. Notas sobre la recepción de las traducciones de la poesía hispano-americana en Polonia en la segunda mitad del siglo XX." Estudios Hispánicos 24 (March 31, 2017): 49–62. http://dx.doi.org/10.19195/2084-2546.24.4.

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Literature and politics. Notes on the reception of translations of Hispano-American poetry in Poland in the second half of the 20th centuryThe main objective of the article is to describe the main trends in the reception of the Hispano-American poetry in Poland in the second half of the 20th century. The analysis carried out on the basis of the bibliographical data demonstrated that political factors were more important than artistic ones when the decisions concerning the choice of works to be published were made. Therefore, the most well-known Hispano-American poet in Poland was Pablo Neruda, presented to the Polish reading public as a communist activist who used his poems as a weapon in the struggle for a better future. For the same reason the Cuban post-revolutionary poetry became popular in Poland. In general, Hispano-American poetry did not arouse much interest of critics nor readers.

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Kopcha, Nataliya A. "Political Reception of Fyodor Dostoevsky in Germany in the First Third of the 20th Century." Vestnik of Northern (Arctic) Federal University. Series "Humanitarian and Social Sciences", no. 5 (September 20, 2018): 63–72. http://dx.doi.org/10.17238/issn2227-6564.2018.5.63.

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Nguyen, Kelly. "Phạm Duy Khiêm, classical reception, and colonial subversion in early 20th century Vietnam and France." Classical Receptions Journal 12, no. 3 (May 14, 2020): 340–56. http://dx.doi.org/10.1093/crj/claa003.

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Abstract The tradition of the Vietnamese reception of classical literature has not yet been examined, and this article is the first to venture into this intersection between Classics and Vietnamese studies. In this article, I focus on Phạm Duy Khiêm (1908–74) and his use of Classics to translate and mediate his Vietnamese heritage to his French audience. Phạm lived during a particularly turbulent time in Vietnamese history: he experienced Vietnam as a French protectorate called Annam, he witnessed his compatriots defy French rule and win independence for Vietnam, and he saw the civil war that challenged that new independence. Throughout these changing political contexts, Phạm navigated the politics of polarity that separated the colonizer from the colonized as he struggled to make sense of these supposedly irreconcilable differences between the two, which contested his own intercultural identity. In this article, I argue that Phạm used his classical education and its cultural capital not only to explain Vietnamese culture to his French audience, but also to elevate it as equal, and perhaps even superior, to that of the French and their supposed classical inheritance.

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Gyimesi, Julia. "Hypnotherapies in 20th-century Hungary: The extraordinary career of Ferenc Völgyesi." History of the Human Sciences 31, no. 4 (October 2018): 58–82. http://dx.doi.org/10.1177/0952695118790414.

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This article traces the history of hypnotherapies in Hungary by exploring and interpreting the work of Ferenc (András) Völgyesi, a controversial physician, psychiatrist and forensic expert who gained remarkable fame in and beyond Hungary. It explores his work and its reception in the context of the complex, changing trends in European psychology between the 1920s and 1950s, drawing on published sources in a range of languages, and the archives of the Hungarian State Security. It uncovers experiments in human and animal hypnosis; Völgyesi’s engagement with the Hungarian psychoanalytic community; and the cultural, scientific, and esoteric, networks from which theories and practices of hypnosis emerged. This reminds us also that the development of psychotherapy in Europe cannot be disentangled from the history of parapsychology and western esotericism. The article also examines allegations of ethical abuses of hypnosis, and the shortcomings of Völgyesi’s theoretical and practical claims. It argues that this case illustrates how the history of European psychotherapy in the 20th century cannot be fully understood without taking into account the enduring fascination with hypnotherapies into the postwar period – re-inscribed, in this case, through Pavlovian theories.

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Ming, Li, and Anna Boiko. "Recipes of the Russian opera tradition in the Chinese opera art of the 20th century." OOO "Zhurnal "Voprosy Istorii" 2020, no. 11-1 (November 1, 2020): 170–78. http://dx.doi.org/10.31166/voprosyistorii202011statyi07.

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The publication is devoted to the consideration of the peculiarities of the reception of Russian opera tradition in the Chinese opera of 20th century. The significant role of the historical and the cultural events that affected the spread Russian opera in China is analyzed. Particular attention is paid to the study of the activities of representatives the Russian emigration in the field of opera art. It was emphasized that the influence of Russian and foreign opera contributed to the formation of the genre the Chinese opera of the European type.

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Nikolarea, Ekaterini. "Oedipus the King: A Greek Tragedy, Philosophy, Politics and Philology." TTR : traduction, terminologie, rédaction 7, no. 1 (February 27, 2007): 219–67. http://dx.doi.org/10.7202/037174ar.

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Abstract Oedipus the King: A Greek Tragedy, Philosophy, Politics and Philology — This study tries to show that the abundance of translations, imitations and radical re-interpretations of a genre like tragedy is due to various social discourses of target societies. Taking as an example Sophocles' Oedipus the King, the acclaimed tragedy par excellence, this essay discusses how the discourses of philosophy, politics and philology influenced the reception of this classical Greek tragedy by the French and British target systems (TSs) during the late 17th and early 18th century and the late 19th and early 20th century. The first section shows how, by offering Sophocles' Oedipus the King as a Greek model of tragedy, Aristotle's Poetics has formed the Western literary criticism and playwriting. The second section attempts to demonstrate why three imitations of Oedipus by Corneille (Oedipe), Dryden {Oedipus) and Voltaire {Oedipe) became more popular than any other contemporary "real" translation of the Sophoclean Oedipus. The third and final part holds that the observed revival of Oedipus the King in late 19th- and early 20th-century France and England was due to the different degrees of influence of three conflicting but overlapping discourses: philosophy, philology and politics. It illustrates how these discourses resulted in different reception of the Greek play by the French and British TSs.

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Borozan, Igor. "Simbolistički opus Mihe Marinkovića i njegova recepcija u srpskoj sredini." Ars Adriatica 9 (February 28, 2020): 133–50. http://dx.doi.org/10.15291/ars.2928.

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The paper analyses the symbolist works in the under-researched opus of painter Miho Marinković. Trained at the Munich Academy of Fine Arts, he is primarily known as a painter of intricate themes that can be categorized as late 19th-century symbolism. In 1904, he settled in Belgrade and became an active participant in the cultural scene of the Serbian capital. In 1911, Marinković’s paintings were exhibited in the Pavilion of the Kingdom of Serbia at the International Exhibition in Rome. His symbolist oeuvre covers the standard themes of symbolist painting, such as Medusa, Lucifer, or The Sinner, which speaks both of the artist’s personality and of the eclectic turn of the century. Symbolism in Marinković’s work reflects his training in Munich, which in the late 19th and early 20th centuries was the European centre of somnambular themes and artistic experiments. In this paper, his oeuvre has been considered in the context of general symbolist structures, with particular references to the Munich symbolism. Some reviews of Marinković’s symbolist paintings have been pointed out, which testify to the history of the reception of his work in the Kingdom of Serbia in the early 20th century. The positive reception of Marinković’s paintings in the Serbian setting is evident from the fact that as many as thirty-five of his works have been included in the holdings of the National Museum in Belgrade.

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Petracek, Tomas. "Przesłanie moralne papieża Jana Pawła II i Benedykta XVI do czeskich ateistów. Historyczne uwarunkowania i możliwości." Teologia i Moralność 8, no. 1(13) (January 1, 2013): 69–85. http://dx.doi.org/10.14746/tim.2013.13.1.5.

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The author deals with the reception of the moral teachings of Pope John Paul II and Pope Benedict XVI by the Czech agnostic and atheist public. He puts this dialogue in the historical context of the Czech history of the 20th century and demonstrates its limits and possibilities. Although there is a common dialogue and interest space, currently, however, on the atheistic part of the public prevails a rather confrontational stance.

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Dimitrova, N. I. "Types of philosophical reception of Dostoevsky in Bulgaria from the first half of the 20th century." Solov’evskie issledovaniya, no. 1 (2020): 123–36. http://dx.doi.org/10.17588/2076-9210.2020.1.123-136.

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The article is devoted to the philosophical interpretations of Dostoevsky's work in Bulgaria in the first half of the twentieth century. Dostoevsky's initial presence in Bulgaria was investigated as well the response of the Bulgarian intelligentsia to his ideas compared to those of Tolstoy. The beneficial influence on the image of the writer as a thinker, philosopher, exerted by the Russian emigration in Bulgaria since the beginning of the 1920s is noted. Particular emphasis is placed on the work of Petr Bitsill, one of the best experts in the field of Dostoevsky studies. The types of interpretations of Dostoevsky as a philosopher are distinguished as follows: Dostoevsky as a Nietzschean. Dostoevsky and Nietzsche (opposition and identification) – bearing in mind the strong influence of Nietzsche in Bulgaria since the beginning of the twentieth century; Dostoevsky as one of the founders of Russian religious philosophy – considering the penetration of the Silver Age ideas in Bulgaria; Dostoevsky and psychoanalysis; Dostoevsky as a religious philosopher and innovator. The author concludes that the study of the peculiarities of the reception of Dostoevsky’s work in Bulgarian culture of the first half of the twentieth century reveals not only the variety of world views but also the specifics of the national spiritual tradition.

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Ritoók, Pál, and Ágnes Anna Sebestyén. "Communicating “space and form?”: The history and impact of the journal Tér és Forma as the Hungarian pipeline of Modernism." An Eastern Europe Vision, no. 59 (2018): 18–25. http://dx.doi.org/10.52200/59.a.yxtyk1q6.

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In the interwar era, architectural journals were at the forefront of professional attention and had the power to disseminate the Modern Movement in architecture globally. The Hungarian journal Tér és Forma (1928-1948) took the lead to introduce international modern architecture to the Hungarian public, while continually reporting on the newest building projects in interwar Hungary. Virgil Bierbauer, the periodical’s long-time editor (1928-1942), presented the broad panorama of contemporary architecture and his followers from 1943 intended to continue his legacy even in wartime. The impact of the periodical did not halt at its cessation in 1948 but, directly as well as indirectly, continued to define 20th century architectural historiography in Hungary.

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Liu, Miaowen, and Natalia Z. Koltsova. "Perception of works of V. Shklovsky in China." RUDN Journal of Studies in Literature and Journalism 24, no. 3 (December 15, 2019): 462–76. http://dx.doi.org/10.22363/2312-9220-2019-24-3-462-476.

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The article is devoted to studying the long-term dissemination and perception of Viktor Shklovsky's works and ideas in China from the 1930s to 2010s, while providing a brief overview of the scientific articles of Chinese Russianists, who played a key role in studying the heritage of Shklovsky conceptual apparatus in Chinese literary criticism. Particular attention is paid to the category of estrangement, firmly included in Chinese literary studies and widely used in the analysis of works of Chinese literature and cinema, have been considered such concepts of Russian formalism as literary character, reception, since the early 80s of the 20th century adopted by the science of China. The article emphasizes that the history of the perception of the theoretical views of V. Shklovsky in China includes several stages, while a true study of his works, like Russian formalism in general, begins only in the 1980s of the 20th century. The artworks of Shklovsky in China began to pay attention only to the XXI century.

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Blagojevic, Gordana. "On reception of the church Byzantine music in Belgrade at the end of 20th century and beginning of 21st century." Glasnik Etnografskog instituta, no. 53 (2005): 153–70. http://dx.doi.org/10.2298/gei0553153b.

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Vorozhikhina, Ksenia V. "Lev Shestov in France: Reception of the Russian Philosopher’s Ideas (First Half of the 20th Century)." Voprosy Filosofii, no. 6 (2021): 45–53. http://dx.doi.org/10.21146/0042-8744-2021-6-45-53.

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The article is devoted to the acquaintance of French critics with the philosophy of Lev Shestov, who emigrated from Russia in 1919. Shestov’s ideas almost immediately resonate with French readers and over the course of several years the philosopher gains some fame; he is perceived as one of the most important figures of modern original Russian thought, comparable in importance to M. de Unamuno in Spain and J. de Gaultier in France. Shestov makes acquaintances with French and European intellectuals (J. Rivière, J. de Gaultier, L. Levy-Bruhl and others), collaborates with reputable French magazines “Mercure de France”, “La Nouvelle Revue française”, “La Revue philosophique de la France et de l’étranger”. Shestov has disciples and followers: B. de Schloezer, G. Bataille, B. Fondane, R. Bespaloff, A. Lazarev etc. The most important for his followers is the philosopher’s appeal to the personalities of thinkers and writers, and not to their ideas; “peregrination through the souls” as a philosophical method; the inextricable link between philosophy and life; criticism to reason and morality; religious orientation and others. Shestov’s ideas become one of the sources of existentialism of A. Camus, works of A. Malraux and G. Marcel. Shestov and Fondane separate the philosophy of tragedy, identified with religious existential philosophy in the spirit of S. Kierkegaard, B. Pascal, F.M. Dostoevsky and M. Luther, from the existentialism of M. Heidegger, K. Jaspers and others.

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Pastushenko, Luidmila. "FORMATION OF HIGHER EDUCATION IN UKRAINЕ: RECEPTION OF KYIV ACADEMIC HISTORIANS OF 19tH – EARLY 20th CENTURY." Knowledge, Education, Law, Management 1, no. 3 (2020): 62–67. http://dx.doi.org/10.51647/kelm.2020.3.1.12.

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Gultyaeva, Galina S. "Realistic Painting of the 20th Century China in the Context of Cultural Visualization." Observatory of Culture 18, no. 1 (May 24, 2021): 32–43. http://dx.doi.org/10.25281/2072-3156-2021-18-1-32-43.

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This article examines the phenomenon of Chinese realism, as well as the prerequisites and factors that influenced the processes of reception in modern Chinese art. At the beginning of the 20th century, under the influence of Western academic realism and the artistic system of social realism, a new direction and artistic method was formed — realism, which became mainstream in the art of China of the mid-20th century. According to its aesthetic and ideological motifs, Chinese realism is an object of social realism reception, which was determined by cultural and historical factors, and the development of political, economic and cultural ties with the USSR. Studying the realistic painting, which reflects the atmosphere of the era, the worldview, and the dialogue of cultures, is relevant for both Chinese and Russian contemporary art studies. The article examines the role of realism in the development of Chinese art culture of the 20th century, including its socio-political components, as well as the dynamics of artistic and expressive means and the iconographic system in the context of the historical and cultural situation. In the 1980s and 1990s, as a result of the liberalization of economic and political life, the artistic consciousness formed new concepts of realistic painting — neorealism and cynical realism, associated with a critical rethinking of the historical heritage. The neorealism and cynical realism, which would significantly enrich realistic painting with new forms and content, adopted Western postmodern concepts of pop art, and debunked, in a grotesque and satirical form, the political stereotypes of the past. The analysis of realistic painting of the 1990s demonstrates how the transformation of past painting canons reflects the desire of society to free itself from the pressure of totalitarian ideology and to rethink the value orientations of the previous era.The novelty of this study lies in the fact that it applies a systematic and holistic approach to the analysis of realism in Chinese painting, reveals the diversity of its forms and directions, and gives ground for the specifics of its evolution in the context of the artistic culture of the 20th century China. There are almost no comprehensive studies of this issue in modern art history, so this work is an attempt to create a scientific approach to the study of this artistic phenomenon and the formation of ideas about how the artistic consciousness of an entire epoch was changing.

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Mihkelev, Anneli. "The image of neighbours: Latvian and Lithuanian literature in Estonia." Sign Systems Studies 40, no. 3/4 (December 1, 2012): 432–46. http://dx.doi.org/10.12697/sss.2012.3-4.09.

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The translated text has a specific value in the new culture: it can be a translation of a literary text, and it can be a translation of culture, i.e. a synchronic text of a cultural system. There are two principal concepts which are used in the present article: 'translation' and 'reception'. Reception begins with the selection of the author, literary or historical epoch, literary style, or ideology. So, every translation and reception begins with reading, and every reading creates meanings. At the same time, reception is also translation: it is a moment when two distinct cultures mix, and this situation needs understanding of the other. The translated texts create the image of the translated culture and/or nation. The article examines texts from Latvian and Lithuanian literatures from the second half of the 18th century to the early 20th century which have been translated into Estonian: what kind of texts are translated in different periods and by different translators (the selection of the authors and the texts); what the purpose of the translations is; how these translations translate Latvian or Lithuanian culture into Estonian; and how Estonians understand and accept these translated texts. And, finally, how these translated texts create the image of the translated culture and/or nation.

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Lubardic, Bogdan. "Serbia and Russia mirroring obtainment in philosophy 1920-2020: Synoptic reflexion." Zbornik Matice srpske za drustvene nauke, no. 173 (2020): 1–13. http://dx.doi.org/10.2298/zmsdn2073001l.

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The author endeavours to reconstruct the ways in which the relations between Russia and Serbia in the 20th and 21st century are reflected through the philosophies of both, respectively. Reasons are given for the importance of institutional reception of Russian philosophy into Serbian cultural space, and vice versa. It is demonstrated that the relating of Russia and Serbia in philosophy is important theoretically and spiritually, and equally as a form of identity politics in culture.

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Benigni, Elisabetta. "Dante and the Construction of a Mediterranean Literary Space." Philological Encounters 2, no. 1-2 (January 9, 2017): 111–38. http://dx.doi.org/10.1163/24519197-00000017.

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This article examines the ideological implications of the literary debate about the Arab-Islamic influences on Dante’sDivina Commediaand the emergence of the idea of Mediterranean literature. It traces the question of “influences” back to 16th century Italy, casts the modern controversy about Dante and the Arabs in the broader context of borders, and questions the definition of European and Romance literatures in relation to Arabic literature. It then focuses on the 20th century debate about the Arabic roots of theCommediain Italy, Spain and the Arab world in order to account for the reception and translation of theCommediainto Arabic.

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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.

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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.

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Draganová, Andrea, and Luybica Babotova. "Ukrainian Topics in Slovak Periodicals at Turn of the 20th Century." Академічний журнал "Слово і Час", no. 4 (April 24, 2019): 74–80. http://dx.doi.org/10.33608/0236-1477.2019.04.74-80.

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The article focuses on the representation of Ukrainian topics in Slovak journals, mainly in “Hlas” (‘Voice’). This periodical had a subtitle “Mesačník pre literatúru, politika a sociálne otázky” (Monthly on literature, politics and social issues) and appeared in 1898–1904. “Hlas” is considered to be the publishing platform of liberally oriented Slovak youth, who opposed the conservative policy of the Center of National Life in Martin, led by S. H. Vajanský. Just as with other key ideological issues (Czechoslovakism, Russophilism, political activity), Vajanský’s reception and understanding of Ukrainian issues significantly differed from those of the younger generation. ‘Ukrainian theme’ usually got into the journal “Hlas” indirectly, through the links to ‘Slovanský přehled’ (‘Slavic Review’) journal. “Hlas” paid considerable attention to social problems. Such issues as migration, the influence of magyarization on the educational system and level of literacy among ‘rusyns’ were often addressed with a help of statistical data. The periodical provided information on the current challenges of Ukrainian students and some translations of works by Ukrainian authors. For instance, in 1903 “Hlas” published “Nastia” by B. Lepkyi. The translator of the text F. Votruba was among the most active promotors of Ukrainian literature. The references to outstanding Ukrainian cultural figures, such as Taras Shevchenko, Ivan Franko, Volodymyr Hnatiuk, etc., are also worth to mention. A detailed analysis of the content of “Hlas” revealed that the journal gave a low priority to ‘Ukrainian issues’. Most of the relevant information was taken from the other journals. The appearance of original material or translations to a large extent was driven by the personal interests of individual authors.

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Rusu-Persic, Dalia. "Critical reception of late 19th century Iași-based music. Alexandru Flechtenmacher." Artes. Journal of Musicology 18, no. 1 (March 1, 2018): 190–206. http://dx.doi.org/10.2478/ajm-2018-0012.

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Abstract In late 19th-century periodicals, music criticism captured only a few details on the composition techniques, the structural organization, the rhythmic-melodic or vocal and stage interpretation of various performances. The press shed light on these pieces only at an informative level, mentioning titles, composers, and interpreters and even omitting some details due to, on the one hand, the authorities’ indifference to the musical phenomenon and, on the other hand, the editors’ sheer ignorance of particular stylistic or musical language features. However, the attempts made by the personalities active in the cultural and artistic life were real and unrelenting, their results being guided by the desire to promote music with specific national traits. This study provides an analytical perspective on the current reception of that social-artistic context. Taking into account that new sources have favored a more detailed and profound investigation of the 19th-century critical phenomenon, our analysis supplements the information presented in the music history studies already published in Romania. Consequently, the first section of this paper approaches the extremely dynamic phenomenon represented by the creation of new journals / newspapers in the 19th century. It is our belief that starting from general journalism we can acquire a better understanding of the development of musical criticism. This research aimed to discover new dimensions of Iași-based music, placing special emphasis on the critical reception of the composer Alexandru Flechtenmacher. We have followed its reflection in the Romanian press, starting from the first accounts in this respect, and ending with the subsequent assessments formulated in 20th-century musicology. Although the texts that tackle musical issues are quite few and social aspects prevail in the commentators’ list of interests, by combining the information provided by general literary/historical/social sources with the details included in specialized articles we can create a new perspective on late 19th-century Iași-based compositions.

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Choudhury, Ria Roy. "The Voyage Of WitchCraft: From The Crucible To Harry Potter." International Journal of English Learning & Teaching Skills 3, no. 2 (January 1, 2021): 2123–32. http://dx.doi.org/10.15864/ijelts.3216.

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In this paper, I have attempted to draw a line of comparison between two iconic works of literature namely, The Crucible by Arthur Miller and J.K. Rowling’s Harry Potter series. Composed in 1692 and conceived in 1997 respectively, witchcraft is the fulcrum upon which both of these masterpieces rest. The texts reiterate references of the historical event of witch hunt in New England and colonial America, which ranged from 14th century to 17th century. However, the journey of witchcraft from the 17th to the 20th century, and its reception, has not been without alterations. From being a taboo, to an art which is difficult to master but highly desirable, the general perception towards witchcraft, has acquired a sea-change.

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Palenzuela, Nilo. "Agustín Espinosa. El movimiento de una recepción." Revista de Filología de la Universidad de La Laguna, no. 42 (2021): 19–34. http://dx.doi.org/10.25145/j.refiull.2021.42.02.

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This article studies the reception of Agustín Espinosa’s work after the 1974 reissue of Lancelot, 28°-7° (1929), Media hora jugando a los dados (1933) and Crimen (1934). The most important contributions and the critical perspectives adopted are shown. The peculiar adoption by Espinosa of cubist and surrealist aesthetics and positions is also dealt with. The basic perspective of this work is Henri Bergson’s conception of durée, also readapted by scholars such as Vladimir Jankélévitch and, especially, by Georges Sebbag in the field of surrealism and philosophy. For Espinosa, analogy, duration and memory constitute a way of interpreting the culture of the past and the present. Agustín Espinosa’s durée from 1974 to the present has to do with his choices and with what was inscribed in his words as continuity of a work and a position before culture. The “Bergsonian opening” of his reception shows the incidence of his choices during the last decades of the 20th century and the first decades of the 21th century

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Terentowicz-Fotyga, Urszula. "Zagubione w Austen: Duma i uprzedzenie w postmodernistycznej odsłonie – między parodią a nostalgią." Przegląd Humanistyczny 63, no. 2 (465) (October 25, 2019): 151–60. http://dx.doi.org/10.5604/01.3001.0013.5520.

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The article analyses an ITV series Lost in Austen (2008), directed by Dan Zeff, as an example of postmodern play with Pride and Prejudice. Moving the contemporary heroine to the imaginary, textual sphere, the movie compares the reality of the 19th and the 21st century, emphasizing the visibly different positions of women. It not only “rewrites” the course of events, but also makes the tensions (which were previously silenced by the romance convention) more dynamic. Oscillating between the parody and nostalgia, Lost in Austen both continues and enriches Pride and Prejudice. Playful engagement with the original novel is the principal theme and motif of the series, but also the subject of its parodistic criticism. Lost in Austen engages both with the novel and with its 20th century reception. Moreover, by creative reinterpretation of the writer’s text, it shows the changing paradigms of the 20th century criticism and the cultural and literary theory. Highlighting the aspects of the novel important for the contemporary era, it initiates an interesting dialogue with the rich intertextual tapestry that contemporary popular culture weaved around Jane Austen.

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Zavgorodnii, Aleksei M. "RECEPTION OF N.V. GOGOL’S DEAD SOULS IN FRANCE: BETWEEN THE TWO WORLD WARS OF THE 20TH CENTURY." Vestnik Tomskogo gosudarstvennogo universiteta, no. 426 (January 1, 2018): 14–26. http://dx.doi.org/10.17223/15617793/426/2.

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Bernyukevich, Tatyana. "The Reception of Buddhism in Russia and the “Russian Asiaphiles” in the Late 19th — early 20th Century." State Religion and Church in Russia and Worldwide 38, no. 1 (2020): 37–61. http://dx.doi.org/10.22394/2073-7203-2020-38-1-37-61.

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On Thi My, Linh. "Reception of the 20th Century German Novels in Vietnam in terms of Research and Criticism since 1986." Journal of Science Social Science 65, no. 2 (February 2020): 10–17. http://dx.doi.org/10.18173/2354-1067.2020-0002.

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Dyadyk, N., and O. Konfederat. "RUSSIAN COSMISM AND ILLUSTRATION OF COSMIC SPACE IN THE RUSSIAN CINEMATOGRAPH OF THE XXI CENTURY." Technical Aesthetics and Design Research 2, no. 4 (February 16, 2021): 33–41. http://dx.doi.org/10.34031/2687-0878-2020-2-4-33-41.

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The object of the research is the illustration of cosmic space in Russian cinema of the XXI century as a reflection of the traditions of Russian thinking, as well as a plastic model of the Russian reception of globalism in the new century. Research methods: general scientific methods of analysis and synthesis; a phenomenological method for identifying the intentions of a visual image; semiotic approach, allowing to analyze the structural and semiotic integer of a movie. As a result of the study, the authors conclude that the Russian screen model of cosmic space as organically rational integrity, comprehended in the intellectual and moral traditions of Russian mentality of the 19th – 20th centuries, represents a positive alternative in the spiritual reality of the 21st century.

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Cardoso, Eduardo Wright. "From Art as a Science to the Death of Poetry." Aletria: Revista de Estudos de Literatura 30, no. 2 (May 20, 2020): 147–66. http://dx.doi.org/10.35699/2317-2096.2020.22090.

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This article reflects on the contacts and dialogues between literature and scientific thought in the works of Austrian writer Hermann Broch in the first half of the 20th century. His first novel, The Sleepwalkers [Die Schlafwandler] (1931-1932), points to certain interpretations, allusions and similarities in connection with thinkers such as Max Weber, Walter Benjamin and Hannah Arendt, which suggest the incorporation of literature to scientific and philosophical knowledge. Conversely, in his last fiction work, The Death of Virgil [Der Tod des Vergil] (1945), Broch seems to question and even to doubt the importance of literature as a way of reflecting on contemporary life. While prioritizing Broch’s early works, this article follows his trajectory as he incorporates philosophical, scientific, and religious considerations to fiction, while reflecting on the times in which he lived.

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Journal articles on the topic 'Virgil reception in the 20th Century'

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