Gotowe bibliografie tematyczne / Criticism and interpretationgleitzman, morris

Gotowa bibliografia na temat „Criticism and interpretationgleitzman, morris”

Autor: Grafiati

Data publikacji: 25 lipca 2024

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Artykuły w czasopismach na temat "Criticism and interpretationgleitzman, morris"

Etherington, Ben, i Jarad Zimbler. "Decolonize Practical Criticism?" English: Journal of the English Association 70, nr 270 (1.09.2021): 227–36. http://dx.doi.org/10.1093/english/efab017.

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Abstract This article reflects on what it might mean to decolonize practical criticism in the current moment by considering previous responses to the same imperative. It discusses critical and institutional interventions by Ngũgĩ wa Thiong'o, Mervyn Morris, Chidi Amuta, and, more recently, Harry Garuba and Benge Okot. In this way, the article demonstrates that the antidote to colonial paradigms of literary criticism has not been a pedagogy that prioritizes context over text but a critical practice oriented to a work’s formal and technical context of intelligibility. Such a practice demands that readers inhabit the literary constraints and possibilities encountered by postcolonial or otherwise peripheral writers.

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Hastings, Tom. "Robert Morris between art criticism and object making, 1961-66". Sculpture Journal: Volume 30, Issue 3 30, nr 3 (1.11.2021): 345–60. http://dx.doi.org/10.3828/sj.2021.30.3.6.

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Robert Morris’s art criticism and object making through the 1960s exemplifies a period concern: the constitution of the self-possessing subject. This article analyses the contours of artistic presence in his practice against the 1960s’ repudiation of expression. As such, it seeks to intervene into historiographical readings of minimalist art that foreground the paradoxical re-emergence of expression through the ‘anti-humanist turn’. In addition, it contributes an original reading of Morris’s lecture-performance, 21.3 (1964). The article features four case studies: the 1990s’ renewal of art historical interest in the 1960s; Morris’s ‘Notes on Sculpture’ essay series and his presentation of the Gestalt; 21.3 and the status of formalist method; and a review of modernist criticism by Mary Kelly conducted in the early 1980s, and, by way of conclusion, a return to the exhibited object. By analysing the work of art through its layered reception, this article approaches art criticism and object making as homologous sites of inquiry. It is finally claimed that Morris’s insistence on ‘control’ may be read as articulating a professional anxiety concerning the need to strategically stage-manage one’s person in the arena of a shifting art world, in which artistic form was no longer a sufficient condition for winning prestige.

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DAYAN, P. "Review. Stephane Mallarme: Twentieth-Century Criticism (1972-1979). Morris, D. Hampton". French Studies 45, nr 3 (1.07.1991): 341. http://dx.doi.org/10.1093/fs/45.3.341.

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Peksan, Selcan. "A Utopian Way of Thinking about Work: Tracing William Morris’ Ideas on the Concept of Work". Journal of Humanity and Society (insan & toplum) 11, nr 2 (20.06.2021): 149–67. http://dx.doi.org/10.12658/m0624.

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Social theories present a wide range of criticism regarding the modern organization of work, yet little on the nature of humans and what an ideal concept of work would be. Favoring a utopian way of thinking about work, this paper inspects William Morris’ understanding of work and the basic dynamics of work organization in his vision of the society of the future. This article has chosen to perform an in-depth analysis of his utopian novel News from Nowhere due to the transformation of work laying at the core of the book. By tracing the key patterns of work in Morris’ future utopia which he called Nowhere, this paper proposes the concept of work that articulated in Morris’thought as a means of gaining an alternative model regarding the recent debates about the future of work. In particular, the paper scans Morris’ arguments on labor to demonstrate how Morris’ view presents an inspiring approach for our era. This hopefully opens up the prospect of thinking about the ideal work of the future one wants to achieve.

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Puckett, Kent. "“Postscript: 1976”: E. P. Thompson and the River of Fire". Victorian Literature and Culture 47, nr 4 (2019): 813–34. http://dx.doi.org/10.1017/s1060150319000342.

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This new section of Victorian Literature and Culture focuses on apparently minor works of criticism, works that have fallen out of view but that might deserve another look. I want to talk about an almost aggressively minor instance of very Victorian scholarship, minor not only because it isn't often read but also because minorness is built into its very design: E. P. Thompson's “Postscript: 1976,” a longish essay that followed the second and revised edition of his 1955 biography, William Morris: Romantic to Revolutionary. When seen in the reciprocal contexts of Thompson's career and the story of the British left (when, in other words, theory is seen not as opposed to but rather as a part of history), the apparently minor and belated qualities of Thompson's postscript emerge as a source of critical and even utopian promise. I want to argue that Thompson's lifelong engagement with the life of William Morris and with Morris's late conversion to socialism led him to a powerful and counterintuitive account of the lived threshold (what he and Morris call the “river of fire”) as essential to the methods of history and historical materialism.

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Whalen, Aili. "What, After All, Is Margolis’ Problem With Weitz’ Definition of Art?" East Asian Journal of Philosophy 2, nr 2 (17.04.2023): 57–69. http://dx.doi.org/10.19079/eajp.2.2.57.

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This article analyzes Joseph Margolis’ criticism of Morris Weitz’ definition of art with an eye to sorting out where, precisely, their differences lie. In particular, it focuses on their differing ideas of what an “open” and “closed” definition of art amounts to and what sort of entity art is. It concludes with the suggestion that differences in metaphysical worldview, rather than differences in how they view what kinds of entities should count as art, account for the discrepancy in their views.

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Sizov, Sergey Eugenievich. "Apophatic theological tradition and analytic theology: outlining conflicts and solutions". KANT 38, nr 1 (marzec 2021): 171–78. http://dx.doi.org/10.24923/2222-243x.2021-38.34.

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The reason for writing the article was the book of the famous analytical theologian Thomas Morris "Our Idea of God", in which he writes Gregory Nazianzin in the camp of pessimistic theologians and criticizes apophatic theology. In our opinion, his criticism is devoid of solid foundations and apophaticism itself is understood one-sidedly, while with a closer examination, the conflict between rational and mystical reason can be at least noticeably reduced. The following text is devoted to the study of this problem field and the illustration of these theses.

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Donovan, Peter. "The Intolerance of Religious Pluralism". Religious Studies 29, nr 2 (czerwiec 1993): 217–29. http://dx.doi.org/10.1017/s0034412500022216.

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The pluralistic approach to religions has come in for some serious criticism in recent writings. I shall consider two examples in particular. The first is the book Christian Uniqueness Reconsidered. The Myth of a Pluralistic Theology of Religions, edited by Gavin D'Costa. This is a collection of essays offered in response to The Myth of Christian Uniqueness, edited by John Hick and Paul Knitter. The second example is an essay by Paul Morris, ‘Judaism and Pluralism: the Price of “Religious Freedom”’, in Religious Pluralism and Unbelief, edited by Ian Hamnett.

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Moonie, Stephen. "Our Cherished Moments of Involuntary Realism: Charles Harrison, Modernism, and Art Writing". Arts 11, nr 1 (21.01.2022): 23. http://dx.doi.org/10.3390/arts11010023.

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In May 1969, Charles Harrison reviewed Morris Louis’ exhibition at the Waddington Galleries in London. Months later, he helped to install the exhibition When Attitudes Become Form at the Institute of Contemporary Arts. Harrison also wrote the catalogue text, published in Studio International. Those two texts marked a significant point in Harrison’s career. They were indicative of his disillusionment with modernist criticism, and of his burgeoning interest in the work of post-minimal and conceptual art. In this respect, the two essays mark a transition from modernism to post-modernism in the space between a formalist analysis of the art object and a more dispersed field of artistic practice, where a changed relationship between art practice, criticism, and curating was taking place. However, in the 2000s, Harrison came to reflect upon this cardinal moment. Harrison referred to his recollected experiences of the late 1960s as a ‘cherished moment of involuntary realism’, opening up issues around art writing which remain pertinent to the practice of art history.

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Durrant, Michael. "The Logic of God Incarnate–Two Recent Metaphysical Principles Examined". Religious Studies 24, nr 2 (czerwiec 1988): 121–27. http://dx.doi.org/10.1017/s0034412500019223.

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In his recent work Professor Morris writes: ‘I am suggesting that, armed with a couple of fairly simple metaphysical distinctions we can begin to see how the doctrine of the Incarnation can possibly be true.’What are these ‘metaphysical distinctions’ and do they stand up to critical examination? My answer to the latter part of this question in regard to the first distinction is a reserved ‘Yes’; in regard to the second distinction a definite ‘No’. If my criticism of the second distinction holds good, then Morris's defence of the orthodox doctrine of the Incarnation fails, for his defence crucially relies on the validity of that distinction.

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Rozprawy doktorskie na temat "Criticism and interpretationgleitzman, morris"

McColm, Donna. "Opticality and the Work of Morris Louis (1912-1962)". Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/2180.

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This thesis investigates the work of Morris Louis (1912-1962) in relation to ‘opticality’, a theory developed by the prominent American art critic Clement Greenberg. Between the late 1930s and 1950s, Greenberg developed a comprehensive argument concerning the opticality, or the optical illusion, of abstract painting. This theory influenced common approaches towards Abstract Expressionist painting during the 1940s and 1950s, culminating in Greenberg’s writing on ‘Colourfield’ painting in major texts of the 1960s such as ‘Louis and Noland’ (1960). Through research into the development of Morris Louis’ technique, including several of his major series as well as lesser known works, this thesis argues that our understanding of Louis’ work has been constricted by a narrow perception of the opticality of his 'stain' paintings, and explores Louis' technique in light of alternative interpretations of his work.

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McColm, Donna. "Opticality and the Work of Morris Louis (1912-1962)". University of Sydney, 2007. http://hdl.handle.net/2123/2180.

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Master of Philosophy
This thesis investigates the work of Morris Louis (1912-1962) in relation to ‘opticality’, a theory developed by the prominent American art critic Clement Greenberg. Between the late 1930s and 1950s, Greenberg developed a comprehensive argument concerning the opticality, or the optical illusion, of abstract painting. This theory influenced common approaches towards Abstract Expressionist painting during the 1940s and 1950s, culminating in Greenberg’s writing on ‘Colourfield’ painting in major texts of the 1960s such as ‘Louis and Noland’ (1960). Through research into the development of Morris Louis’ technique, including several of his major series as well as lesser known works, this thesis argues that our understanding of Louis’ work has been constricted by a narrow perception of the opticality of his 'stain' paintings, and explores Louis' technique in light of alternative interpretations of his work.

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Jae, Hwan Jung. "DANCING AMBIVALENCE: A CRITICAL ANALYSIS OF MARK MORRIS' CHOREOGRAPHY IN DIDO AND AENEAS (1989), THE HARD NUT (1991), AND ROMEO AND JULIET, ON MOTIFS OF SHAKESPEARE (2008)". Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/167997.

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Dance
Ph.D.
Mark Morris is deeply engaged with dance traditions and the classics, but he transforms them into modern, eclectic pieces. He often dissolves the distinctions between reality and fantasy, and good and evil, emphasizing reconciliation and love. Morris sculpts his own story and characters from musical elements within the overarching musical structure, portraying the characters and their emotions through detailed variations of movement quality. Characterizing Morris' dual attitudes as ambivalence, this study aims to highlight the dynamic structure and complexity of meaning in his works. I suggest that Morris' ambivalence is related to his perspective, the way he sees the world.
Temple University--Theses

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Morais, Rafael Pinto. "A modernidade em lugar nenhum: o mundo moderno revisitado pelos romances utópicos de William Morris, H. G. Wells e Aldous Huxley". Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/3309.

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Made available in DSpace on 2016-04-26T14:53:04Z (GMT). No. of bitstreams: 1 Rafael Pinto Morais.pdf: 533473 bytes, checksum: a34e8b730848228b6bcbda50fd239458 (MD5) Previous issue date: 2011-06-06
Conselho Nacional de Desenvolvimento Científico e Tecnológico
Modernity is still alive, but not in the same way it has always been. Nowadays, the condition of the modern world is coldly examined, many of its institutions are analyzed and greatly frowned upon, and, therefore, the need for change is evident. The present dissertation arises from this context and aims at taking part in its discussions from the perspective of literature, more precisely of the genre utopia. The objective of our study is to understand what William Morris, H. G. Wells and Aldous Huxley, in their utopian novels, have to say about the modern civilization and what changes they propose regarding the problems they witness. First, we start the research by adopting the belief that there is a logic that is present in, permeates and moulds the modern practices and existences: the enlightened reason. Second, we take modernity for its reason, describe it in details and try to see it embodied in the material life, in the segments of production and consumption, politics and science. After this characterization of what modernity is, we finally get to the analyses of the novels. By revealing how the writers see modern reason in their books, we achieve our main goal. Briefly speaking, while Wells views the imperatives of the modern world as great principles that must be clung to and spread, Morris e Huxley are much more critical: both see the darkness of our times and show, through their own understanding of the facts, possible ways out of it. The two writers bring us important contributions that should be considered in the path we have been walking on lately
A modernidade ainda está viva, mas não da forma que sempre esteve. Nos dias atuais, examina-se a condição do mundo moderno friamente, jogam-se luzes sobre seus trabalhos sem gostar muito do que se vê e, por fim, percebe-se a necessidade de mudanças. A presente dissertação surge desse contexto e tem como intuito geral tomar parte em suas conversações a partir da literatura, mais precisamente do gênero utopia. O objetivo do trabalho é compreender o que William Morris, H. G. Wells e Aldous Huxley, em seus romances utópicos, dizem a respeito da civilização moderna e propõem como saída para suas contradições. Damos início à pesquisa assumindo a noção de que existe uma lógica que sustenta, permeia e molda as práticas e existências modernas: a razão esclarecida. Logo após, tomamos a modernidade por sua razão, descrevemos esse elemento basilar da civilização moderna e buscamos enxergá-lo corporificado nas esferas da produção e do consumo, da política e da ciência. Feita a delimitação, caracterização e mapeamento do que é a modernidade, chegamos à análise dos romances. Revelando a postura dos autores diante da razão que alicerça o mundo moderno, nosso propósito é alcançado. Em suma, enquanto Wells se prende aos imperativos do período e tenta de todas as formas propagá-los, Morris e Huxley têm uma postura mais crítica, conseguem enxergar a obscuridade de nosso tempo e expor, na própria apreensão dos fatos, possíveis caminhos para fora das trevas. Os dois autores, assim, trazem contribuições que nos auxiliam a pavimentar o caminho que percorremos na atualidade

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Coker, Bradley Gene. "The employment of historically informed performance practices in present day tuba performances of two Italian baroque violoncello transcriptions". Thesis, Recital, recorded June 5, 2006, in digital collections. Access restricted to the University of North Texas campus. connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6122.

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Thesis (D.M.A.)--University of North Texas, 2008.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Nov. 7, 2005, Mar. 20, 2006, June 5, 2006, and Nov. 5, 2007. Includes bibliographical references (p. 80-83).

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McFadden, Jane Porter 1972. "Practices of site : Walter de Maria and Robert Morris,1960-1977". 2004. http://hdl.handle.net/2152/12802.

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Książki na temat "Criticism and interpretationgleitzman, morris"

Jones, Alun R. Lewis Morris. Caerdydd: Gwasg Prifysgol Cymru, 2004.

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Wiens, Ann. Darrel Morris. Winchester: Telos, 2003.

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Zaczek, Iain. William Morris. Bath: Parragon, 2001.

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Wydeven, Joseph J. Wright Morris revisited. New York: Twayne Publishers, 1998.

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Blonston, Gary. William Morris: Artifacts/glass. New York: Abbeville Press, 1996.

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Doumato, Lamia. Morris Lapidus: A bibliography. Monticello, Ill., USA: Vance Bibliographies, 1988.

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Wolff, Theodore F. Morris Graves: Flower paintings. Seattle: University of Washington Press, 1994.

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Jordan, Stephanie. Mark Morris: Musician - choreographer. Binstead: Dance Books Ltd., 2015.

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Bird, Roy K. Wright Morris: Memory and imagination. New York: P. Lang, 1985.

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Grenier, Catherine. Robert Morris à Maguelone. Paris: Ereme, 2003.

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Części książek na temat "Criticism and interpretationgleitzman, morris"

Havenstein, Daniela. "The Resurrection of Morris W. Croll". W Democratizing Sir Thomas Browne, 88–103. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198186267.003.0006.

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Abstract Twentieth-century criticism of Browne’s style has been dominated by two major figures, Morris W Croll and Stanley E. Fish. While the former elevates Browne to the position of a representative seventeenth-century anti-Ciceronian or baroque writer, the latter stigmatizes him as the bad physician. This disparity in judgement originates in their very different approaches to seventeenth-century style.

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"John Fletcher, On pastoral tragicomedy (c.1610)". W English Renaissance Literary Criticism, redaktor Brian Vickers, 502–3. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198186793.003.0026.

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Abstract If you be not reasonably assured of your knowledge in this kind of poem, lay down the book or read this, which I would wish had been the prologue. It is a pastoral tragicomedy, which the people seeing when it was played, having ever had a singular gift in defining, concluded to be a play of country-hired shepherds,1 in grey cloaks, with curtailed* dogs in strings, sometimes laughing together, and some times killing one another; and, missing Whitsun ales, cream, wassailand morris-dances, began to be angry. In their error I would not have you fall, lest you incur their censure.

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Cerasi, Laura. "Tra nostalgia preindustriale, ghildismo e rinascita nazionale Il pensiero sociale di Ruskin nel dibattito culturale italiano". W John Ruskin’s Europe. A Collection of Cross-Cultural Essays With an Introductory Lecture by Salvatore Settis. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-487-5/021.

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Ruskin’s social criticism, which in Unto This Last (1862) harshly condemned the effects of industrialism by mythologizing medieval age and craftmanship, had a wide influence on social reformers of various political orientations: William Morris, J.A. Hobson, the Art and Crafts Movement, the guildism of Arthur Penty and GHD Cole and the New Age circle, with an impact that went as far as the early decades of the 20th century. While his work as an art critic was promptly received in the Italian cultural debate, his social criticism found little audience, at least until the turn of the centuries, and anyway not in the sphere of economic and sociological culture. In this contribution I intend to examine how the circulation of Ruskin’s social thought in the Italian cultural debate between the nineteenth and twentieth centuries was inscribed in the renewed interest in the social function of art, advocated in the Florentine literary journal Il Marzocco with particular reference to the work of Lev Tolstoy by young intellectuals such as Ugo Ojetti, Angelo Orvieto, and Enrico Corradini, as well as established critics as Angelo Conti. The debate became a watershed moment in Italian culture, involving crucial issues as identity and tradition, artistic heritage and national rebirth. By including in this cultural framework the reception of Ruskin’s social criticism, I intend to highlight its connection with the emergence of the movement for the conservation of the artistic heritage, in which Il Mazocco had a leading role, and to suggest it having mixed political implications. Ruskinian references were channeled in a perspective of national rebirth and regeneration; for a paradoxical but interesting twist, aspects of Ruskin's anti-industrialist and medievalist imagery converged within the new nationalist and nationalist dimension that crossed the Italian (and European) culture of the first decade of the century.

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Stevenson, Randall. "An Age of Theory? Critics, Readers, and Authors". W The Last of England?, 88–124. Oxford University PressOxford, 2004. http://dx.doi.org/10.1093/oso/9780198184232.003.0004.

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Abstract High, high above the North Pole, on the first day of 1969, two professors of English Literature approached each other at a combined velocity of 1200 miles per hour. The opening of David Lodge’s Changing Places (1974) goes on to explain that collision is avoided, literally at any rate, by the two professors: the ‘thoroughly conventional English don’ Philip Swallow and the aggressively up-to-date Morris Zapp, travelling on exchange to each other’s universities (ch. 1). Hurtling towards each other in the late 1960s, carrying such different intellectual baggage, they nevertheless provide a good metaphor for the high-level collisions of ideas which came to dominate academic study of English Literature over the next two decades. Later parts of Lodge’s trilogy of campus novels, Small World (1984) and Nice Work (1988), further illustrate the transformations which resulted. Rapid expansion in theoretical thinking at the end of the 1960s, mostly Continental in origin, eventually impacted profoundly on established conceptions of literature, and of how it should be studied, in British universities. There were also wider influences on reading practices during the period, and often on its authors themselves. Generally, theory and criticism took on roles more prominent in the last decades of the century than at any earlier stage of literary history. In the United States, Geoffrey Hartman even claimed that critical or theoretical writing could assume a status equal to the literature it had once been thought to.

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Streszczenia konferencji na temat "Criticism and interpretationgleitzman, morris"

Christie, Robyn. "The Great Debate: Campaigns and Conflicts in London in the 1980s". W The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5016p9v9h.

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In 1984 HM King Charles III, then HRH The Prince of Wales, gave the infamous speech to the RIBA in which he was critical of a proposed new extension to the National Gallery in Trafalgar Square. The fervour unleashed in the press signified a unique moment when architecture, conservation, planning and development became a much – and still – talked about part of the public discourse in Britain. Conservation theory had dictated since its early guidelines of practice that new additions to historic works should be clearly distinguished from their original host or the existing environment. Historicism, imitating the existing architecture within an urban setting was taboo, a notion that went back to Ruskin and the anti-scrape lobby of Morris. Unravelling the events of the 1980s, however, reveals that the desire to copy past forms as a means of retaining the past maintained an ongoing and strong legacy. It had become a method of seeking refuge from the failures of modernism and the divergence between traditional and modern forms, language and techniques. Openly acknowledged that modernism was anti- historic and anti-urban, classicism and medieval towns and forms offered the example of outdoor rooms and a predominance of solids over voids. For the then Prince and his many followers, including vast members of the public, the use of a traditional architectural style as infill in a classically inspired building setting was “good” design practice. At this point, ironically, the retreat to historicism also comprised not only mimicking traditional details but also their playful reinterpretation through an esoteric postmodernism. But the topic of new into old had become confused: the critical issue was one of urban design and not the language of infill architecture. Three case studies within the historic core of the City of London, the basis of criticism in Charles’ speeches of 1984 and 1987, will be explored through the popular press in order to understand their lessons and relevance to the complexity of current contemporary conflicts in historic urban areas.

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