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Sarycheva, Kristina V. "Leconte de Lisle in Russian literary criticism of the 1880s – early 1910s". Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, nr 81 (2023): 256–68. http://dx.doi.org/10.17223/19986645/81/14.
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The article examines the evolution of the perception of the works of Charles Leconte de Lisle in Russian literary criticism in the late 1880s – early 1910s. The chronological framework of the study is due to the fact that in 1889 the first detailed analysis of works by Leconte de Lisle appeared and, in the 1890s, Russian symbolists paid attention to the French poet; the other chronological boundary was caused by the crisis and end of Russian symbolism in in the late 1900s and early 1910s. Using the historical comparative method, the author analyzes articles by Maria Frishmut, Dmitry Merezhkovskiy, Valery Bryusov, Innokentiy Annenskiy, fully or partially dedicated to Leconte de Lisle. The author discovers that Russian critics relied on French critical works on Leconte de Lisle: critics saw his poetry as cold, dispassionate, objective (nonpersonal), possessing the perfection of a poetic form close to sculpture and painting. While Frishmut uses the judgments of his French predecessors, relying primarily on Paul Bourget, the symbolists put works of Leconte de Lisle in the context of the genealogy of Russian symbolism. Merezhkovskiy in the 1890s leads the genealogy of the symbolists from Leconte de Lisle. Bryusov considered Leconte de Lisle a classic and a representative of a certain line in poetry characterized by a careful accomplishing of a poetic form. The author pays particular attention to the evolution of the perception of Leconte de Lisle in Annenskiy’s literary criticism. She shows that Annenskiy developed his aesthetic concepts on the basis of Leconte de Lisle’s works and infers that in the late 1890s–1900s, during the period of the formation of symbolism, Annensky formed the concept of art as a symbol based on Leconte de Lisle’s works and in the late 1900s, in the period of the crisis of symbolism and the appeal to extra-aesthetic reality, considered Leconte de Lisle in the appropriate categories, seeing his tragedy in the fact that in his work he turned away from life and always talked about death. A statue is a stable image in Annenskiy’s articles that mention Leconte de Lisle; for the critic, a statue as a perfection of form and a classic monument corresponds to all Leconte de Lisle’s works and his place in the history of literature.
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Egorova, L. V. "Svetlov, I., Lukicheva, K. and Arias-Vikhil, M., eds. (2023). Paris around the 1900s. Joséphin Péladan’s Society of ‘Rose + Croix.’ St. Petersburg: Aleteya. (In Russ.)". Voprosy literatury, nr 2 (15.03.2024): 174–77. http://dx.doi.org/10.31425/0042-8795-2024-2-174-177.
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The review discusses a collection of articles produced by a team of scholars under the supervision of professor Igor Svetlov. The book focuses on alternative experiments in late 1800s — early 1900s French art, which, although they failed to grow into independent movements, succeeded in producing several interesting concepts. The study is especially concerned with the Paris-based salon of ‘Rose + Croix’ and its founder Josephin Peladan — a writer, philosopher, occultist, and an able organizer. The book considers his artistic interests and views on the connection between art and religion, the role of symbolism in artistic thought, and the relationship between the modernity of his day and the previous epochs, including the esoteric and magical traditions. The collection covers a broad variety of subjects, such as the fantastic and the demonic in Paris, the mystical components in landscape paintings of the late 1800s, illustrations in the era of decadent art, intellectualism and intuition of the regulars of Peladan’s salons, esotericism and symbolism as a bridge into otherness, the existential and the universal in 1900s’ Parisian architecture, M. Voloshin’s turn-of-the-century spiritual and aesthetic experiments, the Parisian ‘imprint’ in Kandinsky’s early works, and Paris photographed at nighttime.
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Редькин, Валерий Александрович. "IRREALISM IN THE STORIES OF A.P. CHEKHOV OF THE MIDDLE 1880s". Вестник Тверского государственного университета. Серия: Филология, nr 1(68) (9.04.2021): 62–73. http://dx.doi.org/10.26456/vtfilol/2021.1.062.
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В статье рассматривается проблема творческого метода и стиля А.П. Чехова середины 1880-х годов. Анализ основывается на развитии методологии П.Н. Сакулина, разработавшего концепцию двух методов/стилей творчества: реализма и ирреализма. Ведется полемика с теми литературоведами, которые видели в Чехове только реалиста, чуждого новым эстетическим течениям и тенденциям в искусстве конца ХIХ - начала ХХ века, и противопоставляли его Д. Мережковскому, З. Гиппиус, Вл. Соловьеву и в целом декадансу и символизму, утверждали безрелигиозный характер его творчества. Делается вывод о том, что Чехов перешагивал через головы искателей новой веры и адептов субъективных её трактовок, возвращался к национальным историческим и культурным основам. Элементы иррационализма в его прозе становятся носителями духовного реализма, который во всей полноте проявился позже, в творчестве И. Шмелева, Б. Зайцева, Н. Гумилева, А. Ахматовой. The article deals with the problem of the creative method and style of A.P. Chekhov in the mid-1880s. The analysis is based on the development of the methodology of P.N. Sakulin, who developed the concept of two methods / styles of creativity: realism and unrealism. A controversy is being conducted with those literary critics who saw in Chekhov only a realist, alien to new aesthetic currents and trends in art of the late 19th - early 20th centuries, and opposed him to D. Merezhkovsky, Z. Gippius, Vl. Solovyev and decadence and symbolism in general, were affirmed the irreligious nature of his work. It is concluded that Chekhov stepped over the heads of seekers of a new faith and adherents of its subjective interpretations, returning to national historical and cultural foundations. Elements of irrationalism in his prose become carriers of spiritual realism, which in its entirety manifested itself later, in the works of I. Shmelev, B. Zaitsev, N. Gumilyov, A. Akhmatova.
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Kirillina, Larissa V. "The Dancing Prometheus: Beethoven and Ballet". Contemporary Musicology, nr 3 (2023): 63–81. http://dx.doi.org/10.56620/2587-9731-2023-3-063-081.
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Beethoven’s music has frequently appeared in ballet productions in the 20th and early 21st centuries. However, his only full-scale ballet, Die Geschöpfe des Prometheus (1801), remains outside of the theatrical mainstream. Meanwhile, this work was important for both of its creators: the great choreographer Salvatore Viganò and Beethoven. The ‘Promethean’ line in Beethoven’s and Viganò’s legacy continued after the ballet’s premiere in 1801. A number of Beethoven’s works from 1801–1804 are united by the so-called ‘Promethean theme’ (the quotation or reminiscence from the final counterdance of the ballet). Viganò, not satisfied with the Vienna production of Prometheus of 1801, staged an expanded version of the ballet in Milan in 1813. In that performance, it became possible to accentuate the moments covert in the Vienna version: the striking analogies between the images of Prometheus and Christ. Being a good musician, Vigano used fragments of Beethoven’s other new works, besides Prometheus, in his ballets in Milan. Their artistic quests ran parallel to each other, although Beethoven never turned to the genre of the ballet afterwards. The magnificent orchestral score of Die Geschöpfe des Prometheus has taken on a life of its own. The ballet in its 1801 version was rarely staged during the 19th and the 20th centuries. However, there has been a revival of interest in it in the 21st century. In recent years, a number of stage incarnations of Beethoven’s ballet have appeared, in which the plot has undergone various transformations. Francesca Harper proposed a reading of the work by means of contemporary dance (2005, New York). At the same time, Helena Kazarova staged Die Geschöpfe des Prometheus in an authentic manner in 2016 (Czech Republic, Valtice Castle Theater). Another solution – a very ascetic and symbolist one – was proposed by Attila Egerhazy, who staged the ballet in 2017 by means of the Dance Center of the Prague Conservatory. Finally, in 2021 in Bologna, choreographer Monica Miniucchi created a performance based on Die Geschöpfe des Prometheus bearing very little resemblance to a traditional ballet, performed mainly by means of pantomime. All these endeavors show that Beethoven’s sole ballet is by no means a museum legacy of the past. It has the ability of becoming an organic part of contemporary musical theater.
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Oprea, Florea. "Formats of Early Book: Symbolism, Ill Treatmeant, Initial Size Recalculation". Études bibliologiques/Library Research Studies 2, nr 2 (2020): 5–20. http://dx.doi.org/10.33993/eb.2020.01.
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The current study will aim to present several considerations on the formats of codices and early printed books, with special reference to the proportions, the virtual geometrical structure of the page dimensions and the entire surface of the open book. The author proposes herein that such ratios and virtual geometric arrangements are elements of a hidden religious symbolism inherited from antiquity. To support this argument, some codices and early printed books will be indicated that underwent repair works and were re-bonded. Ten material signs by which one could identify any re-binding works will be indicated herein. Supplementary, four methods for recalculating the initial paper size of codices and early printed books, before the trimming of the book block was performed, will be indicated as well.
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Serova, M. V., i A. M. Vakhnina. "OPTION OF OVERCOMING SYMBOLISM IN THE EARLY WORKS OF BORIS PASTERNAK". Bulletin of Udmurt University. Series History and Philology 31, nr 2 (11.05.2021): 325–29. http://dx.doi.org/10.35634/2412-9534-2021-31-2-325-329.
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The article presents a comparative analysis of Annensky's poem “Black Spring” and Pasternak's poem “February”; it helps to show how symbolist attitude is overcome by recoding “set of images” of the first text in the second text. First, the topic of “transition” that is important for Pasternak is developed. The “transition” is rebirth of a person into a poet by writing poetry. Watching of the state of the world (especially nature) becomes important, the world is associated with the feelings and sensations of the poet, the process of rebirth is inscribed in the calendar cycle. Then the artistic systems of Pasternak and Annensky are compared. A prerequisite for this is the image of the “black spring” found in Pasternak's text and which is a direct reference to Annensky's text. We find the philosophical polemic of the two authors when we are comparing the two poems. If there is no creation in Annensky's world, all of images are endowed with the semantics of death, then Pasternak's world is formed and charged with poetry that is born in a continuous life cycle. In Pasternak's poetic system, Annensky's images are rebuilt and endowed with the semantics of birth, thereby expressing the author's life-affirming attitude. The poem "February" shows the overcoming of the drama of non-incarnation faced by the second generation Symbolists.
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Shalaverova, Galina. "THE SYMBOLISTIC CODE IN THE EARLY PROSE OF GEORGY RAICHEV". Годишник на Шуменския университет. Факултет по Хуманитарни науки XXXIIIA, nr 2 (10.11.2022): 316–22. http://dx.doi.org/10.46687/qtxt7207.
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The text explores the relationship between the early prose of Georgi Raichev and the symbolism in Bulgaria, emphasizing on the poem in prose "Companions" and the short story "Aglayda". Published in the magazines "Our Life" and "Zveno", the works set some of the directions in which Raichev's work developed over the next two decades.
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Abdul Malik, Mohd Puaad, Faisal @. Ahmad Faisal Abdul Hamid i Rahimin Affandi Abdul Rahim. "Analyse Malay Fiqh Works Writing 1600-1800". Al-Muqaddimah: Online journal of Islamic History and Civilization 6, nr 2 (31.12.2018): 71–89. http://dx.doi.org/10.22452/muqaddimah.vol6no2.6.
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In essence, this article will focus on the subject classical Malay fiqh works 1600-1800. Classical Malay fiqh works are Malay intellectual works produced by Malay Muslim scholars in various topics of Islamic law including worship (ibadah), commercial transaction law (muamalah), family law (munakahat) and others. This fiqh Malay work played an important role in Malay society at the beginning of Islamic development in the Malay world. It is a means of communication, scientific knowledge or developmental science. The premise of this article analyzes the writing of fiqh works that developed in the early days of the great intellectual nature of the Malay world. There are features of fiqh writing in the year 1600 and it is different from the features of fiqh writing in 1700 and 1800. The discussion of this writing includes the difference between the writing text and the style of writing fiqh and being reviewed from various scopes, items and writing features. The method of analysis used is the method of historiography or historicalism which examines the development of an idea. Facts obtained will be thoroughly screened using the Malay induction history approach. Research shows that the earliest classic Malay fiqh writing has its own identity and superiority and is a Malay intellectual work.
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Špelda, Daniel. "Kepler in the Early Historiography of Astronomy (1615–1800)". Journal for the History of Astronomy 48, nr 4 (listopad 2017): 381–404. http://dx.doi.org/10.1177/0021828617740948.
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This article discusses the reception of Kepler’s work in the earliest interpretations of the history of astronomy, which appeared in the seventeenth and eighteenth centuries. The focus is not on the reception of Kepler’s work among astronomers themselves but instead on its significance for the history of science as seen by early historians of mathematics and astronomy. The first section discusses the evaluation of Kepler in the so-called “Prefatory Histories” of astronomy that appeared in various astronomical works during the seventeenth century. In these, Kepler was considered mainly to be the person who brought the work of Tycho Brahe to completion, rather than an original astronomer. The second section is devoted to the evaluation of Kepler in interpretations of the history of astronomy that appeared in the eighteenth century (often as part of the history of mathematics). In these works, Kepler is regarded as a genius who deserves tremendous credit for the advancement of the human spirit. Both sections also devote attention to Copernicus and Tycho Brahe because this facilitates the explanation of how Kepler’s contribution was judged. By studying the reception of Johannes Kepler’s work, we may gain greater insight into the transition from a cyclical perception of the history of science to the progressive model.
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Bragina, Natalia, i Vladislav Stepanov. "PHILOSOPHICAL INTERPRETATION OF SYMBOLISM OF ČIURLIONIS’ PAINTINGS". SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (25.05.2018): 360–71. http://dx.doi.org/10.17770/sie2018vol1.3196.
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The art of M.-K. Čiurlionis is unique and at the same time emblematic of the culture of the art nouveau period. A deep connection of his art to Lithuanian folklore was combined with his fascination with European philosophical trends of the turn of the 19th - 20th centuries. The aim of this article is to identify the cross-cutting themes (leitmotifs) in the artist’s works and, with the help of this, to reveal the philosophical basis of his works. The methods of research are the study and analysis of both individual Čiurlionis’ paintings and his artistic production in general, as well as the analysis of the literature devoted to his works. As the result, two groups of leitmotifs were identified in the Čiurlionis’ paintings: a) figurative themes; and b) non-figurative themes (up to complete abstraction). Analysis of the meanings of these themes and of their influence on the content of the paintings shows that concrete figurative images (themes of kings, bird, hand, and castle) are associated with Lithuanian folklore. Semi-abstract and abstract images (chaos, glance, gesture, and beauty) reveal the connection between the art of Čiurlionis and European philosophy, from Plato's ideas to Nietzscheism and mystic-visionary movements of the early 20th century. Revealing the philosophical basis of his paintings makes it possible to simultaneously review the artist’s entire work in the context of culture of art nouveau, understand this culture more deeply, and thus get a better understanding of some important phenomena of our time.
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Astakhov, Oleg Yu. "IDEAS FOR SUBJECTIVE BASIS OF SYMBOLISM IN THE EARLY WORKS OF VALERY BRYUSOV". Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, nr 22(2) (1.06.2016): 21–27. http://dx.doi.org/10.17223/22220836/22/2.
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Borozan, Igor. "Simbolistički opus Mihe Marinkovića i njegova recepcija u srpskoj sredini". Ars Adriatica 9 (28.02.2020): 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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Davydova, Olga Sergeevna. "Symbolism in the Russian visual art in the era of Art Nouveau: analytical overview in the light of latest research". Философия и культура, nr 12 (grudzień 2021): 10–24. http://dx.doi.org/10.7256/2454-0757.2021.12.37180.
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The subject of this article is the works of the Russian artists of the late XIX – early XX centuries in the context of problematic of symbolism and Art Nouveau, as well as the scientific foundation that has developed as yet in studying this topic. Research methodology is based on the conceptual synthesis of classical art history approaches towards the analysis of artistic material with the theoretical interdisciplinary methods of humanities, such as iconology and hermeneutics, as well as the contextual-associative method developed by the author. The goal of this article consists in determination of the peculiarities of symbolism in Russia due to the transformation of the attitude towards the spiritual problematic of art of the turn of the XIX – XX centuries, which is relevant for the modern art history. The author is firs in the Russian art history to conduct a comprehensive analytical overview of the development stages of symbolism in the Russian visual art based on the years-long work with the archival materials, scientific publications (that cover over a century), and works of the Art Nouveau authors stored in the museum funds, many of which after 1917 appeared to be on the periphery of attention of art historians due to ideological reasons. The revealed individual characteristics of symbolism as a holistic artistic phenomenon, created on the level of modern humanistic knowledge, determine the novelty of this work and can valuable in further study of symbolism and Art Nouveau. Broadening of representations on the Russian art of the late XIX – early XX centuries, allow returning the heritage of the symbolist artists into the context of art, which is of undeniable importance from the perspective of restoration of natural logic of the development of the history of art in Russia, making this publication valuable in various fields of study of art and culture.
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Gaevska, N. M., i O. V. Naumovska. "ROMANTICISM OF THE FOREST UKRAINE IN THE ASSESSMENT OF D. CHYZHEVSKY". Literary Studies, nr 61 (2021): 20–27. http://dx.doi.org/10.17721/2520-6346.2(61).20-27.
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The article focuses on D. Chyzhevsky’s assessment of Lesya Ukrainka’s romanticism, outlines the latest trends in the literature of the late XIX – early XX centuries, which professed Lesya Ukrainka as a neo-romantic. The aesthetics of romanticism and its transformation into neo-romanticism are traced. It is about identifying and analyzing the symbolism of Lesya Ukrainka’s works. The subject matter of the poet’s works is considered, the influence of romantic ideas (German, Polish romanticism) at the end of the XIX century is comprehended; combination of theoretical views of the writer with works of art, which is characteristic of romantic writers.
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Pavlova, Irina. "The Color Symbolism in the Works of Saltykov-Shchedrin". Scientific and analytical journal Burganov House. The space of culture 16, nr 2 (10.06.2020): 91–99. http://dx.doi.org/10.36340/2071-6818-2020-16-2-91-99.
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The article is devoted to the symbolism of color in the works of Saltykov-Shchedrin. Color is a fundamental phenomenon of existence; various sciences, including literary criticism, study it. It is connected with the ideological conception of the work, with art space; it bears a visual function, emotionally colors the world depicted by a writer, enriches, makes it more complex. Saltykov-Shchedrin’s use of color is connected with the satirist’s talent to see the reality in the "concentration of evil". In the works of the writer, Russia appears to be ambivalent: it is a field of the rampage of the elements, energies, and the realm of deadness, of slumber, which is presented in the writer's palette by two achromatic colors. White and gray are distinguished by special semantic saturation. In Saltykov-Shchedrin’s works, their symbolism is seen in a negative aspect: white represents coldness, despair, insipidity; gray – poverty, sadness, rough weather. In the descriptions of the environment, these colors are accompanied by images of snow, rain, fog, which in turn are connected with the motifs of death, doom, and emptiness of life. Many of the satirist’s works starting from his early stories, Contradictions, Brusin, are emotionally charged in such a way. White and gray colors define the peculiarity of the artistic space of many works of Saltykov-Shchedrin. In the epilogue of the series Provincial Sketches, the ground appears covered with a white shroud. The tragedy of this image is compounded in the cycle of Well-Intentioned Speeches. Snow as a white shroud is the writer’s constant metaphor. Almost always when describing Russian expanses, monotonous, dull colors dominate in the works of the satirist. White color expands the space to the infinity overwhelming a man; gray increases the feeling of hopelessness. Saltykov-Shchedrin’s landscape correlates with the unclear fate of Russia, with mournful events in the national history, a fading aristocratic landlord class. These colors are associated with moral issues in the novel-chronicle The Golovlyov Family. In the tale Night of Christ, white and gray serve as the concentration of world evil. However, gray does not have only negative energy – the «gray tones» of the Motherland cause the writer to feel «love to the pain in the heart». Golden color in the idiomatic expression «Golden age», an age of harmony and prosperity, used by the socialists-utopians, to whose ideals Saltykov-Shchedrin always remained true, stand as the antagonist of white and gray. Color is one of the mental units forming the concept sphere of Saltykov-Shchedrin’s creative work; it reflects the diversity of the author's thinking, the philosophy of the artist-satirist, the worldview of a particular age, and the national picture of the world.
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Belyaeva, Valeria. "Neo-Kantian motifs in the works of A. Bely". Studies in Transcendental Philosophy 2, nr 3 (2021): 0. http://dx.doi.org/10.18254/s271326680016945-9.
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The article is devoted to the work of A. Bely in the development of Russian culture in the late 19th - early 20th centuries. Attention is paid to the motives of the creative path of the philosopher-poet, who created the basis of Russian symbolism. By analyzing the cultural and historical manifestations of the second half of the 19th century and the first half of the 20th century, reflection in the works of art and science workers, an assessment of the severity of symbolism for the development of Russian philosophy and the field of art in general. In the process of the formation of symbolism in Bely's work, neo-Kantian motives are clearly revealed in the formulation of the problem of the difference between subjective perception and the essence of the object of perception in itself, that is, distinguishing between the symbol and the signified. By comparing Bely's views with the concept of sophiology and anthroposophy, distinct Kantian positions of the philosopher-poet stand out. These include the schematism of space and time, an attempt to apply the categories of natural science to the field of philosophy of art, as well as the demarcation of the immanent and the transcendent. Despite the fact that the ideas of the philosopher-poet in their form have similar positions with the anthroposophy of R. Steiner and with the ideas of V. Solovyov, however, the key content is the neo-Kantian methodology of "critical deepening" of thought and its rationalization. The actualization of Bely's creativity and the issue of his neo-Kantian motives is carried out by attracting research from related branches of knowledge on the principles of interdisciplinary consideration and implementation of an integrated approach.
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Titarenko, S. D. "Poetics of Prose of Vyacheslav Ivanov of the End of the 19th – Beginning of the 20th Century: Artistic Philosophy and the Discovery of Esthesis". Solov’evskie issledovaniya, nr 3 (30.09.2023): 168–82. http://dx.doi.org/10.17588/2076-9210.2023.3.168-182.
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This paper is the study of the early philosophical prose of the Russian symbolism theorist Vyacheslav Ivanov during the period of the 1880-s–1900-s. This issue has been understudied and requires approach based on interdisciplinary methods. The materials from the writer's archive and publications reflecting the development of his prose, characterized by a synthesis of philosophical, religious and artistic principles characteristic of the poetics of Russian symbolism, are analyzed. The materials analyzed include early prosaic sketches of Ivanov, fragments of his so-called Intellectual Diary, religious, philosophical, literary and critical essays, articles and other works. Emphasis is placed on the principles of forming a metaphysical discourse, as well as the genre dynamics of Ivanov’s early prose, which can be characterized by essay type of writing and the increasing importance of the philosophical parts. These works are compared to his prose of the early 1900-s published in the “Vesy” journal. It is concluded that Ivanov’s prosaic manner is characterized by the poetic and cultural discourse and his thesaurus is based on the metaphysical language of images. The important components of this discourse include principles of ancient aesthetics of thought and the revitalization of text via various metaphors. A vital role is played by esthesis as one of the methods of philosophical perception and aesthetic reflection of the sensual world. The texts of the Old and New Testaments and the Christian tradition prove to have an essential impact. The influence of works by Aristotle, Plato, B. Pascal, J. W. Goethe, V. Solovyov, F. Nietzsche on the development of metaphysical language of Ivanov’s prose is noted. The conclusion is made that the author’s early prose is the result of attaining an individual style, reflecting the phenomenology of the symbolist consciousness.
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Fukaya, Kiminori. "The Early Beckett's Approach to Reality through a Textual Struggle with Rimbaud". Journal of Beckett Studies 26, nr 2 (wrzesień 2017): 188–205. http://dx.doi.org/10.3366/jobs.2017.0202.
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In his early career, Beckett often mentioned an aesthetic of ‘incoherent reality’, which he felt was characteristic of Arthur Rimbaud. Critics have agreed that Rimbaud influenced on Beckett in the ‘incoherent’ use of language, while the importance of the idea of ‘reality’ has yet to be explored. In this article, I attempt to elucidate Beckett's view of incoherent reality and how he formulated it through Rimbaud. The early part of my analysis, drawing on Proust, differentiates young Beckett's perspective of reality from literary symbolism and explains why he found elements of reality in Proust and Rimbaud rather than Mallarmé and W.B. Yeats. Axel's Castle by Edmund Wilson, a classical study of literary symbolism, supports this differentiation; Wilson addresses Rimbaud's social and mercantile activity, which is barely seen in other reclusive symbolists. I speculate that Beckett may have read Wilson's book because descriptions about symbolism, which are quite similar to Wilson's, are present in the notes taken by Leslie Daiken as a student of Beckett's at Trinity College Dublin. Moreover, allusions to Rimbaud in works such as ‘Enueg I’ or Mercier et Camier show how Beckett focussed on the incoherent reality and was distanced from Rimbaud's mysterious side. On the basis of these arguments, the final part of the article examines the meaning of the ‘reality of insane areas of silence’ discussed in Beckett's first novel, Dream of Fair to Middling Women, to prove that he began to diverge from Rimbaud with an aesthetic of indolence, which would shape his own view of incoherent reality.
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Zeddies, Michael. "An Origenian Background for theLetter to Theodore". Harvard Theological Review 112, nr 3 (lipiec 2019): 376–406. http://dx.doi.org/10.1017/s0017816019000178.
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AbstractTheLetter to Theodoremay need to be reattributed to Origen of Alexandria. Many of its features seem demonstrably Origenian, and its language aligns with early Christian and Origenian usage. Two noncanonical gospel fragments in the letter do not betray a modern author, but rather evoke early Christian symbolism and narrative structure. The single garment worn by a character in the first fragment reflects Christian symbolism and resembles the philosopher’s garment, which many early Christians adopted and portrayed in material artifacts. Origen’s intellectual interests can explain the letter’s preparation for philosophical exegesis, and its language reflects his text-critical practice. Nevertheless, Origen’s circumstances indicate the text of the noncanonical gospel fragments is unreliable. The letter also echoes Papias in the manner that Origen does. Morton Smith’s account of its discovery does not betray a forgery or hoax, but plausibly depends on other nonfiction works of manuscript discoveries written during the 1960s. Further work may be needed to secure attribution, but Origenian authorship is a simpler explanation of the evidence than modern forgery.
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Kutash, Emilie. "Myth, Allegory and Inspired Symbolism in Early and Late Antique Platonism". International Journal of the Platonic Tradition 14, nr 2 (22.06.2020): 128–52. http://dx.doi.org/10.1163/18725473-bja10002.
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Abstract The idea that mythos and logos are incompatible, and that truth is a product of scientific and dialectical thinking, was certainly disproven by later Platonic philosophers. Deploying the works of Hesiod and Homer, Homeric Hymns and other such literature, they considered myth a valuable and significant augment to philosophical discourse. Plato’s denigration of myth gave his followers an incentive to read myth as allegory. The Stoics and first-century philosophers such as Philo, treated allegory as a legitimate interpretive strategy. The Middle Platonists incorporated myth, for example, deifying the Monad and Dyad, as did 2nd century Platonists. Plutarch’s Isis and Osiris (2nd century CE), for example, equates Isis and Osiris with form and matter: the god (Osiris) sows in matter (Isis) logoi (forms or ideas) from himself (De Iside. 372F). Porphyry’s allegorizing of Plato’s Cave of the Nymphs is another example. Plotinus is a strong influence on how the late Neoplatonists regarded myth. This paper argues that these philosophers’ use of allegory prepared the way for the Neoplatonists treatment of myth as inspired symbolism. Proclus and Syrianus, as reported by Hermias, did something more extreme by using mythology to construct inspired symbolic argument. Mythos becomes another type of logos, a vehicle for representing the invisible world of being, another kind of truth that can even serve a function in anagogic ascent.
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Grudinina, Elena Valeryevna. "JESUS CHRIST’S IMAGE TRANSFORMATION IN THE WORKS BY A. BLOK: FROM EARLY WORKS TO THE POEM “THE TWELVE”". Neophilology, nr 16 (2018): 54–64. http://dx.doi.org/10.20310/2587-6953-2018-4-16-54-64.
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We present the analysis the image of Jesus Christ in the early lyric poetry and the final chapters of the poem “The Twelve” by A. Blok from the point of view of Orthodox spiritual thought. The study allows us to conclude that the poet, despite the specific creative manner of symbolism, very accurately conveys in his early works not only the crisis perception of the world, typical of society at the turn of the 19th and 20th centuries, but also a deep personal insight into the essence of Orthodox faith. As a result of comparing the image of Christ in the analyzed lyric works with the final image in the poem “The Twelve”, which received many different interpretations in critical literary practice, as well as the writings of philosophers and theologians, we conclude that Alexander Blok with his fine poetic ear and spiritual vision, astonishing accuracy portrayed the moral emptiness of people who had created an idol for themselves from a false idea. The element of destruction, the whirlwind of snow, which gave rise to the “tender” image of the false Christ, in fact poses a mortal danger to the human soul.
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Vildanova, Tatiana V. "On Images in Russian Folk Art, their Sources and Transformations Produced by the Popular Orthodox Consciousness". Observatory of Culture, nr 3 (28.06.2014): 128–41. http://dx.doi.org/10.25281/2072-3156-2014-0-3-128-141.
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Is devoted to Russian folk art, which was linked to pagan symbolism but also represents the Russian Orthodox tradition. In Early Russia, the applied arts were shaped by Byzantine tradition; since then churches and cathedrals built in the prominent places de facto were also the centres of culture. Church arts producing the high artistic quality objects became the source of the “beauty ideal” that was also implemented in the works of folk art.
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Bowers, Katherine. "Ghost Writers: Radcliffiana and the Russian Gothic Wave". Victorian Popular Fictions Journal 3, nr 2 (17.12.2021): 152–71. http://dx.doi.org/10.46911/tvct9530.
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Ann Radcliffe’s novels were extremely popular in early nineteenth-century Russia. Publication of her work in Russian translation propelled the so-called gothic wave of 1800-10. Yet, many of the works Radcliffe was known for in Russia were not written by her; rather, they were works by others that were attributed to Radcliffe. This article traces the publication and translation histories of Radcliffiana on the Russian book market of 1800-20. Building on JoEllen DeLucia’s concept of a “corporate Radcliffe” in the anglophone world, this article proposes a Russian corporate Radcliffe. Identifying, classifying, and analysing the provenance of Russian corporate Radcliffe works reveals insight into the transnational circulation of texts and the role of copyright law within it, the nature of the early nineteenth-century Russian book market, the rise of popular reading and advertising in Russia, and the gendered nature of critical discourse at this time. The Russian corporate Radcliffe assures the legacy and influence of Radcliffe in later Russian literature and culture, although a Radcliffe that represents much more than just the English author. Exploring the Russian corporate Radcliffe expands our understanding of early nineteenth-century Russian literary history through specific case studies that demonstrate the significant role played by both women writers and translation, an aspect of this history that is often overlooked.
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Hioki, Naoko Frances. "Depictions of the Journey to the Heavenly Realm in Early Modern Catholic and Japanese Buddhist Iconography". Religion and the Arts 20, nr 1-2 (2016): 135–59. http://dx.doi.org/10.1163/15685292-02001007.
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This article works to identify an intersection of the Catholic and Buddhist pictorial traditions with regard to the symbolism of the journey to the spiritual world. In both Christian and Buddhist traditions, the river/ ocean is a popular symbol that designates the border between this world and the other world. A work of western-inspired Japanese folding screens known as Yōjin Sōgakuzu (Europeans Playing Music) is an outstanding example that makes use of the symbolism of the river to allude to one’s pilgrimage to the other world in the guise of a secular waterfront scene. The folding screens were painted in the seventeenth century by Japanese artists who were affiliated with the art studio founded by the Jesuits. An investigation of European sources of the painting will show how the painters modified the famous Catholic iconography of “The Ship of the Church” to match the taste of the Japanese patrons of the time. Further, comparisons with other Japanese paintings that similarly deal with the theme of the river will show that such secular scenes of waterfront leisure could demonstrate to the Japanese audience the life in the world beyond, as well as a journey to that world they anticipated.
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Green, Ashleigh. "Bird-Catching as a Love Allegory: A Comparison of Greco-Roman and Early Modern English Literature". Parergon 40, nr 1 (2023): 181–208. http://dx.doi.org/10.1353/pgn.2023.a905419.
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Abstract: In the literature of early modern England, particularly Lyly, Shakespeare, and Spenser, love and sexual desire are commonly allegorised in terms of luring, trapping, and shooting birds. This paper investigates the classical origins of this symbolism, revealing how authors used Greek and Roman metaphors of love-as-fowling to inform their own works, with Cupid himself often imagined as a bird. It reconstructs technical and terminological aspects of fowling, arguing that we can only understand why bird-catching was used to express desire once we have answered fundamental questions of how, when, and by whom birds were traditionally caught.
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Kreklau, Claudia. "When “Germany” became the new “France”? Royal Dining at the Bavarian Court of Maximilian II and the Political Gastronomy of Johann Rottenhöfer in Transnational European Perspective, 1830–1870". International Review of Social Research 7, nr 1 (24.05.2017): 46–56. http://dx.doi.org/10.1515/irsr-2017-0006.
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Abstract While France defined European hâute cuisine (royal dining for the purpose of expressing rankdistinction) around 1800, by the mid-nineteenth century the French court failed to hold the best chefs of Europe. Other European courts were rising in power and asserting their absolutist ideals in the century of revolution and socio-political change using meals. Within this context, the culinary art of Johann Rottenhofer in service of Maximilian II of Bavaria synthesized Antonin Careme’s hâute cuisine and Jean Anthelme Brillat-Savarin’s “political gastronomy” to communicate peace, foster international bonds, and establish equality among sovereigns. The works of Levi-Strauss and Norbert Elias find resonance in these culinary practices, wherein monarchs were represented at the table in the form of food. Mid-nineteenth century European monarchs not only appreciated the cultural symbolism and the political significance of food, but actively exploited it as a form of communication. I rely on the typologies provided by Ken Albala and Sara Peterson to decode food meanings in the cookbooks written by royals’ chefs after retirement.
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Lazorevich, Irina. "SACRALITY IN THE DIVERSITY OF MODERN LITERATURE: HUMANISM OR VALUE DESTRUCTIVENESS?" Sophia. Human and Religious Studies Bulletin 16, nr 2 (2020): 28–33. http://dx.doi.org/10.17721/sophia.2020.16.6.
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In a secularized society, on the base of the rapid development of technologization and globalization, we also observe an intensive "return" of the sacred. It "returns" with the growth of nostalgia for the personalism of social relationships. And this return is reflected, in particular, through the phenomena of contemporary art – some of them are filled with appropriate symbolism and emotional atmosphere. Undoubtedly, there is no historical period, which would be characterized by complete secularization and the absence of any sacredness. However, in the modern era, the uniqueness of the sacred is that it is not just a religious phenomenon. Because today's semantic space of the sacred is not only the idea of God, it is also about justice, identity, self-sacrifice and the search for answers. This is one of the main categories of value orientations, which relates to anthropological reality in all its diversity. In this article, the author analyzes the manifestations of the Christian worldview and sacred meanings in modern literature work: the means of their expression and symbolism. After all, the Bible in modern literature is used in a unique way. Definitely, there are still a number of important Christian literature works, but more and more often artists use biblical symbolism to embody their creative ideas without mentioning Christian saints or biblical quotations. The researcher examines a number of particularly popular fantasy novels of the early third millennium, in which the plotline is interwoven with elements of Christian sacredness and value categories, the meanings of their ideological guidelines. Cult literature works are also analyzed, where sacredness is hidden under other layers of meaning. In these works, the sacred is not immediately demonstrated, it may be seen in the value potential of the profane. The reverse side of Christian sacredness is also comprehended – on the basis of works of art about demons and Satan, the artistic and ideological purpose of these works is considered. All this is subordinated to the goal of understanding the influence of ideas about the sacred (and in general – the transcendent) in its modern cultural expression on the transformation of the aesthetic axiosphere. The research is at the interdisciplinary intersection of religious studies, philosophy of religion, culturology and aesthetics.
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Ståhle Sjönell, Barbro. "Det tidiga 1800-talets svenska novellistik". Tidskrift för litteraturvetenskap 43, nr 2 (1.01.2013): 5–17. http://dx.doi.org/10.54797/tfl.v43i2.10840.
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Swedish Short Stories in the Early 19th Century. Publication and Subgenres
The present study of Swedish short stories published between the years 1810 and 1829 illustrates that authors representing the Romantic Movement made special efforts to put the short story on the market. At V. F. Palmblad’s publishing house, German contemporary short stories were translated and distributed, later followed by Swedish contributions to the genre, which appeared primarily in literary magazines. Only a small number of short stories were published over the course of these 19 years, and the means of publication varied. Out of 45 works found in the catalogues of the National Library of Sweden, 27 are published separately, while 14 are published in periodicals or newspapers and two in anthologies (one of which is a frame story and the other a modern collection). Authors connected to the Romantic school introduced two new varieties of short story: the exotic story and the fantastic story. The pre-existing subgenres included, for instance: adventures, satirical or comic stories, stories of family life, travel stories and historical short stories. Among these, the historical story was the only subgenre to be printed separately. Characteristic for the short story is its ability to be inserted into many different kinds of publications. Another result of the study is the discovery of the ease with which a short story may be transferred from one form of publication to another. For instance, the short story may originate as part of a novel, only to turn into a separate work in its own right. Alternatively, it may develop as a serial story in a newspaper and go on to be printed separately, and later appear in a publishing house series or in a volume of selected works. This adaptive, or transferable, quality should be included in the ongoing discussion pertaining to the definition of the short story.
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Kim, Minhee. "The Political Influence and Sociolinguistic Symbolism of White Jesus Portrayed in Films". Theological Research Institute of Sahmyook University 26, nr 1 (30.04.2024): 10–39. http://dx.doi.org/10.56035/tod.2024.26.1.10.
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Shaun King's assertion that “the statues of White Jesus must be destroyed” presupposes that the portrayal of Jesus as white in popular media and artistic works in the United States has symbolized racial discriminatory consciousness associated with white supremacy since the early days of American history and continues to influence the current society and political landscape. This paper examines how the portrayal of White Jesus in films, in particular, operates in relation to racial stereotypes, how it has functioned as a political tool through its theologization, and what sociolinguistic symbolism it has been utilized with. After analyzing these aspects, the paper seeks various alternatives to overcome this phenomenon.
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Vogler, Nikolai, Kartik Goyal, Kishore PV Reddy, Elizaveta Pertseva, Samuel V. Lemley, Christopher N. Warren, Max G'Sell i Taylor Berg-Kirkpatrick. "Contrastive Attention Networks for Attribution of Early Modern Print". Proceedings of the AAAI Conference on Artificial Intelligence 37, nr 4 (26.06.2023): 5285–93. http://dx.doi.org/10.1609/aaai.v37i4.25659.
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In this paper, we develop machine learning techniques to identify unknown printers in early modern (c.~1500--1800) English printed books. Specifically, we focus on matching uniquely damaged character type-imprints in anonymously printed books to works with known printers in order to provide evidence of their origins. Until now, this work has been limited to manual investigations by analytical bibliographers. We present a Contrastive Attention-based Metric Learning approach to identify similar damage across character image pairs, which is sensitive to very subtle differences in glyph shapes, yet robust to various confounding sources of noise associated with digitized historical books. To overcome the scarce amount of supervised data, we design a random data synthesis procedure that aims to simulate bends, fractures, and inking variations induced by the early printing process. Our method successfully improves downstream damaged type-imprint matching among printed works from this period, as validated by in-domain human experts. The results of our approach on two important philosophical works from the Early Modern period demonstrate potential to extend the extant historical research about the origins and content of these books.
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SAMPSON, MARGARET. "‘THE WOE THAT WAS IN MARRIAGE’: SOME RECENT WORKS ON THE HISTORY OF WOMEN, MARRIAGE AND THE FAMILY IN EARLY MODERN ENGLAND AND EUROPE". Historical Journal 40, nr 3 (wrzesień 1997): 811–23. http://dx.doi.org/10.1017/s0018246x97007437.
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Marriage and the English Reformation. By Eric Josef Carlson. Oxford: Blackwell, 1994. Pp. ix+276. ISBN 0-631-16864-8. £45.00Gender, sex and subordination in England, 1550–1800. By Anthony Fletcher. New Haven and London: Yale University Press, 1995. Pp. xxii+442. ISBN 0-300-06531-0. £19.95.Domestic dangers: women, words, and sex in early modern London. By Laura Gowing. Oxford: Clarendon Press, 1996. Pp. 301. ISBN 0-19-820517-1. £35.00.The prospect before her: a history of women in western Europe, Volume one, 1500–1800. By Olwen Hufton. London: HarperCollins, 1995. Pp. xiv+654. ISBN 0-00255120-9. £25.00.Sex and subjection: attitudes to women in early modern society. By Margaret R. Sommerville. London: Edward Arnold, 1995. Pp. 287. ISBN 0-340-64574-1. £14.99.
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King, Martina. "Gesteinsschichten, Tasthaare, Damenmoden: Epistemologie des Vergleichens zwischen Natur und Kultur – um und nach 1800". Internationales Archiv für Sozialgeschichte der deutschen Literatur 45, nr 2 (9.11.2020): 246–66. http://dx.doi.org/10.1515/iasl-2020-0014.
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AbstractThis paper investigates comparison as a fundamental practice within the early life sciences. Four episodes are selected that show how comparing species works in the early 19th century and how it builds bridges between scientific and literary culture: comparing living organisms in pre-Darwinian natural history (Lacépède, Treviranus), comparing species distribution in actualistic geology (Lyell), comparing organs in comparative anatomy (Müller), and – last but not least – comparing social classes in new literary genres such as sketch, ‘Paris physiology’, or travel feuilleton.
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KIM HYO EUN. "Study of Symbolism in the Early Works of Ko Un ― Focusing on Ko Un’s Poetry in 1960 ―". Review of Korean Cultural Studies 45, nr 45 (luty 2014): 391–427. http://dx.doi.org/10.17329/kcbook.2014.45.45.013.
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Vitaly Y., Darensky. "Orthodox Criticism of Socialism in the Legacy of F.M. Dostoevsky, S.N. Bulgakov and svt. Seraphim Sobolev". Almanac “Essays on Conservatism” 4 (30.10.2022): 274–91. http://dx.doi.org/10.24030/24092517-2022-0-4-274-291.
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The article examines the Orthodox criticism of socialism in the legacy of F.M. Dostoevsky, S.N. Bulgakov and St. Seraphim Sobolev. The important but little-known texts of F.M. Dostoevsky are analyzed, as well as the historiosophical symbolism of the story “The Dream of a Funny Man”. The evolution of S.N. Bulgakov’s views from the early utopia of “Christian socialism” to his mature works, which see an anti-Christian basis in socialism, is considered. Special attention is paid to the little-known work of St. Seraphim Sobolev (1881–1950) on socialism, in which he emphasized the spiritual incompatibility of socialism and Christianity. The great relevance of these works for our time is shown, when the mythologeme of “Christian socialism”, which has long been overcome in Russian philosophy, is being revived again.
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Nabofa, M. Y. "Blood Symbolism in African Religion". Religious Studies 21, nr 3 (wrzesień 1985): 389–405. http://dx.doi.org/10.1017/s0034412500017479.
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Symbolism has found spontaneous expression in several religious and secular practices among many different peoples of Africa. These expressions can be seen in religious emblems, ideograms, rituals, songs, prayers, myths, incantations, vows, customary behaviour and personifications. The under-standing of these religious symbols lends itself to rapid comprehensive and compact use; not only that, it also helps understanding and concentration. In fact, Mary Douglas expresses the view that such symbols, especially rituals, aid us in selecting experiences for concentrated attention, creative at the level of performance, and can mysteriously help the co-ordination of brain and body (1966, p. 63). Conversely, religious symbols have their ambiguities, and these could shroud their true meaning to the unwary. A religious symbol could also represent a complex set of ideas at different levels which gives room to diverse theological, philosophical and psychological interpretations. While we may agree with Raymond Firth (1973, p. 32) that an anthropologist is concerned primarily with the public use of the symbolic, and his aim is to separate symbols from referent so that he may describe the relations between them, we are of the view that those who are in the field of psychology of religion will be most concerned with how symbols influence the mind of the believer and thus understand the faith of the devotee better. In fact, it was the non-understanding of traditional African religious symbols and ideas that partly contributed to the way in which some of the early Western and Arab scholars, investigating African thought forms, looked at the African indigenous beliefs in a derogatory manner. As a method of scholarly research, a careful and meaningful study of the religious significance of certain ritualistic elements and behaviour enables us to understand and appreciate the more why certain things are treated in some special way by the believers, and thus helps to deepen our knowledge of that very faith. It helps us to grasp the essence of the religion rather than its incidentals. In order, therefore, to help comprehend some of the practices in African traditional religion attempts will be made in this paper to discuss the central significance of blood in African belief. Although I consulted the works of some anthropologists and theologians on African religions and philosophy of life, the bulk of the ethnographic materials used in this paper are mainly drawn from my fieldwork (1975–82) among some groups of Nigerians; and a great deal of my interpretations are surrounded by the theories propounded by Mary Douglas and Raymond Firth.
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Zubenko, Svitlana. "1910–1920's poetry of P. Antokolsky in the context of O. Block’s creative work". Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 12, nr 21 (2019): 37–42. http://dx.doi.org/10.34079/2226-3055-2019-12-21-37-42.
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Pavel Antokolsky’s took his first steps in poetry when literary life in Petersburg and Moscow was raging: new poetic circles were formed and new bright personalities appeared. The poems composed by Alexander Block, an older generation poet, were the object of general admiration. But young talents, almost of the same age as Antokolsky, such as Akhmatova, Pasternak, Mandelstam, Tsvetaeva, Mayakovsky, Yesenin, etc. represented themselves as strong, bright personalities, confident poets and competed on equal terms with the previous literary generation. However, despite his bright talent, the young poet did not consider his early works worth publishing. Many of them remained unknown until 2010 when the book «Daleko eto bylo gde-to…» («It was somewhere far away… ») was published. This book appeared as a result of exploring the poet’s archive by his descendants Andrew Toom, professor at Pernambuco State University (Brazil) and Anna Toom, professor at Touro International University (USA). P. Antokolskiy’s poetry has always been researched in the context of the Soviet poetry and it has been also believed that 1920s was the time when he started his career in literature. The researchers such as L. Anninsky, T. Beck, I. Grinberg, R. Igoshina, T. Letapurs, K. Nikitina, L. Ozerov, D. Reznikov, A. Tarasenkov, etc. also investigated the poetry by P. Antokolskiy in this context. However, the early poems of P. Antokolsky, which were published only in 2010, enable to clarify the periodization of his creative work and to distinguish the period of «apprenticeship» that took place in the 1910s. P. Antokolsky established himself as a poet in the Silver Age of the Russian poetry and at first was fascinated with symbolism, futurism and acmeism. The theme and images of P. Antokolsky's early lyrics are influenced by symbolism and above all, by O. Block's creative work. Referring to the experience of O. Block was due to the crisis of symbolism and many poetic decisions of P. Antokolsky present the imitation, which exploits various means of expression and clichéd images: mysteries, disbelief, disappointment, search for ways, functions of the poet and poetry; poetic images of the cup, blue ships, the Balaganchik and his characters, the Stranger, Her, the Therem, the steady threshold, the blue river, etc. The publication of P. Antokolsky's unknown works is an important step in creating a holistic view of his poetry and its origin, features and evolution of its development and, ultimately, the place of his creative work in the history of literature.
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Tasnimah, Tatik Maryatut. "KEPELOPORAN MAHMŪD TAYMŪR DALAM CERPEN ARAB MODERN". Adabiyyāt: Jurnal Bahasa dan Sastra 7, nr 1 (31.07.2008): 175. http://dx.doi.org/10.14421/ajbs.2008.07110.
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Mahmud Taymur was one of the founders of the Egyptian realistic short story, also known as Syaikh al-Qisasah alQashīrah. Remaining productive over a long life Taymur wrote extensive literary criticism and was the author of short stories, novellas, and plays totaling a score of volumes. Most notable for his skill in characterization, he achieved a literary eminence shared by few other Arabs of his generation in Cairo in 1947, and individual stories by him gave and appeared widely in English and European Anthologies. Taymur’s early works were influenced by Chekhov and Maupassant. His short stories of the 1920s and 1930s portrayed various social strata in Egypt. Taymur’s prose is marked by humanism and psychological subtlety. In the late 1930s and in the 1940s his prose was influenced by symbolism but after the revolutionary coup of 1952, Taymur’s works were predominantly realistic.
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Titarenko, S. D., i M. M. Rusanova. "GOTHIC TRADITION IN LITERATURE FROM THE PERSPECTIVE OF INTERMEDIAL ANALYSIS". Culture and Text, nr 44 (2021): 43–55. http://dx.doi.org/10.37386/2305-4077-2021-1-43-55.
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The article is devoted to the insufficiently studied problem of using intermedial analysis for studying the Gothic tradition in the literature of Russian symbolism (on the example of V. Brusov’s and F. Sologub’s works). We focus our attention on transition a visual image or a medieval art motive from one sign system to another. We analyze how medieval cultural categories correspond to the chronotope and figurative system in the Gothic novels of the 18th - early 19th century. It is concluded that the Symbolists refer to the visual images of the Gothic novel not only as elements of tradition, but also as categories of the culture of the Middle Ages.
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Medic, Ivana. "Gubaidulina, misunderstood". Muzikologija, nr 13 (2012): 101–23. http://dx.doi.org/10.2298/muz120303014m.
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Since the early 1980s Sofia Gubaidulina has received numerous accolades, and her music has been performed and recorded worldwide. However, the critics' reaction to her works has often been resoundly negative. In particular, Western critics have been baffled by Gubaidulina?s penchant for long durations, the employment of seemingly literal musical symbolism verging on kitch and, last but not least, the composer?s religious fervour. Starting from the reviews of two ambitious events that served as introductions of Gubaidulina?s music to British audiences, I will discuss the main objections directed towards her oeuvre and demonstrate that Gubaidulina?s idiosyncratic compositional method has been misunderstood by British critics.
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Korneyeva, T. A. "Nominals with Zero Suffixation in Anna Akhmatova’s Early Poems". Uchenye Zapiski Kazanskogo Universiteta. Seriya Gumanitarnye Nauki 162, nr 5 (2020): 26–32. http://dx.doi.org/10.26907/2541-7738.2020.5.26-32.
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Zero suffixation in Anna Akhmatova’s poetic texts was studied. The textual analysis of A. Akhmatova’s early poems rich in nominals with various types of zero suffixation was performed. Comparison with her later poems was carried out. On the one hand, this approach shows A. Akhmatova’s desire to overcome the traditions of symbolism and her attempts to develop an original style. On the other hand, nominals with zero suffixation clearly prevailed in A. Akhmatova’s early poems as compared with the later works. Particular attention was paid to the role of nominals with zero suffixation in the poetic space organization of two poetry collections: “Evening” (‘Vecher’) and “Beads” (‘Chetki’). We considered lexical, word-building, syntagmatic, grammatical, stylistic, tropeic, and other features of derivatives of zero suffixes in these poetry collections. It was revealed that nominals with zero suffixation were mainly used as a means of concentration of meanings and embodiment of the special drama of the poet’s lyrical monologue. The results of the research are important for expanding the knowledge on the text-forming function of word formation and, in particular, nominals with zero suffixation.
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Oostindie, Gert, i Jessica Vance Roitman. "Repositioning the Dutch in the Atlantic, 1680–1800". Itinerario 36, nr 2 (sierpień 2012): 129–60. http://dx.doi.org/10.1017/s0165115312000605.
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After some decades of historical debate about the early modern Atlantic, it has become a truism that the Atlantic may better be understood as a world of connections rather than as a collection of isolated national sub-empires. Likewise, it is commonly accepted that the study of this interconnected Atlantic world should be interdisciplinary, going beyond traditional economic and political history to include the study of the circulation of people and cultures. This view was espoused and expanded upon in the issue of Itinerario on the nature of Atlantic history published thirteen years ago—the same issue in which Pieter Emmer and Wim Klooster famously asserted that there was no Dutch Atlantic empire. Since this controversial article appeared, there has been a resurgence of interest among scholars about the role of the Dutch in the Atlantic. With Atlantic history continuing to occupy a prominent place in Anglo-American university history departments, it seems high time to appraise the output of this resurgence of interest with an historiographical essay reviewing the major works and trends in the study of the Dutch in the Atlantic.
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Liljas, Juvas Marianne. "”Från pappas lydige Henric”: Pedagogiska perspektiv på det tidiga 1800-talets bildningsresande". Nordic Journal of Educational History 6, nr 2 (13.12.2019): 73–99. http://dx.doi.org/10.36368/njedh.v6i2.151.
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“From daddy’s obedient Henric”: Pedagogical perspectives on educational travel of the early 1800s. This article analyses educational travel in the early 1800s from the perspective of its educational heritage and praxis. The aim is to develop an understanding of the pedagogical significance of educational travel. The article makes clear how upbringing and education are represented in the framework of travel narratives in pre-industrial landscapes. The argument is based on the influence of the mercantile class on educational travel and the informal effect of these trips on changes in pedagogical thinking. The travel letters of Johan Henrik Munktell from 1828 to 1830 are used as primary sources. Using Paul Ricoeur’s memory-critical hermeneutics, travel narratives become significant sources for how education is arranged, and immanent pedagogy is a key term. The results demonstrate that the individualisation process works together with forms of crypto-learning, the core of the personal development vision, and society’s long-term memory.
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Ostaric, Lara. "Absolute Freedom and Creative Agency in Early Schelling". Philosophisches Jahrbuch 119, nr 1 (2012): 69–93. http://dx.doi.org/10.5771/0031-8183-2012-1-69.
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bstract. By arguing that the connection between Schelling’s reception of Plato and Kant’s conception of genius is relevant for Schelling’s early development, this essay demonstrates the following: (1) that Schelling’s early Idealism brings to the general problem that plagues German Idealists, i.e., the search for an unconditioned principle that unites theoretical and practical reason, the solution that is genuinely his own, this original solution consisting in Schelling’s conception of “creative reason [schöpfersiche Vernunft]”; (2) that the theme of an absolutely free creative subjectivity is shared by many of Schelling’s early works and, hence, that the early development of his Idealism can be interpreted as a beginning of the philosophical system or as a “proto-system” of what was later to become his 1800 System; (3) that when compared to Kant’s notion of genius, Schelling’s “absolute I” should be considered a regress rather than a progress.
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Van Deusen, Natalie M. "Colours, Colour Symbolism, and Social Critique in Halldór Laxness’s Salka Valka". Scandinavian-Canadian Studies 18 (1.12.2009): 56–70. http://dx.doi.org/10.29173/scancan33.
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ABSTRACT: Halldór Kiljan Laxness is one of the most successful and renowned authors in all of Iceland. The Nobel Laureate has written many well-known works, one of which is his early novel Salka Valka (1931-1932), a political romance that follows the life of a young girl in a remote Icelandic fishing village from age ten to age twenty-five. An interesting feature of Salka Valka is Laxness’s use of colours and colour symbolism. While Laxness employs a wide variety of basic and non-basic colour terms throughout the novel to describe various people, objects, and natural phenomena, most interesting is his use of grey as opposed to other colours. Laxness uses grey to portray the dreary life and destitute people in the desolate and remote Icelandic fishing village of Óseyri, which he juxtaposes against colourful descriptions of the vibrant and flourishing lives of wealthy individuals both within and outside the village. This article examines these and Laxness’s other uses of grey as opposed to other colours in Salka Valka, particularly as they relate to the social and economic critique that, as scholars have noted time and time again, define this novel.
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Fokin, Alexander Anatolyevich. "Philosophical Principles of Heinrich Klee’s Theology (1800–1840)". Philosophy of Religion: Analytic Researches 6, nr 1 (2022): 24–36. http://dx.doi.org/10.21146/2587-683x-2022-6-1-24-36.
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The article focuses on the study of the dogmatic works of Heinrich Klee (1800–1840) in relation to his criticism and reception of contemporary philosophical systems. The dogmatic theology of Heinrich Klee is a little-studied page in the history of Catholic religious thought in the first half of the 19th century, yet for his contemporaries Klee was a significant thinker, and his theology was the subject of active discussion. The works of Klee are known to have been criticized more than once in connection with the possible borrowing of philosophical ideas in his dogmatic theology. This criticism, however, was taken for granted, without being corroborated by any specific study of his texts – a fault the present article seeks to amend. The article attempts to fit the theology of Heinrich Klee into a philosophical context and analyze the philosophical principles in his theology. In the conclusions of the article, we highlight the tendencies and features of the use of philosophical concepts characteristic for Klee and emphasize the breadth and variety of philosophical trends he was debating. The article uses specific examples to demonstrate that, while openly criticizing such сelebrities as Hegel, Fichte, Schelling, Schleiermacher, Klee not only embraced their philosophical language but also borrowed their foundational ideas. In the article, it was demonstrated with specific examples that, openly criticizing such authors as Hegel, Fichte, Schelling, Schleiermacher, he perceives not only the philosophical language of these authors, but also borrows their system-forming ideas. At the same time, his theological thought moved within the strict framework of the Catholic concept of the objectivity of divine Revelation and the authority of the Church. The article sheds light not only on some of the philosophical and theological positions of a particular theologian of the early 19th century, but also on the discussion about the degree of philosophical foundation of theological constructions in the modern era as a whole.
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Dudareva, Marianna, i Vlada Nikitina. "Color Designation in V.V. Mayakovsky’s Poetics: “Red” and “Yellow” (mythological implication)". SHS Web of Conferences 55 (2018): 04004. http://dx.doi.org/10.1051/shsconf/20185504004.
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The article deals with semantics of “red” and “yellow” color in V.V. Mayakovsky’s poetics. A lot has been written about “red” color; this color is associated with the revolutionary ideas and symbols, and it is often used in Mayakovsky’s early works. However, “yellow” color is used along with “red” one and, in our opinion, it has more complicated semantics. This color is important for the poet himself and his creative life (Mayakovsky’s yellow blouse), and for his early poems where we see the clothing elements of this color. According to folkloric ideas, it is the very color which is ambivalent; it correlates with the sun and a new life, and is attributed to mourning ritual symbolism. Folklore commentary to some details in the poems “A Cloud in Trousers”, “A Man” and “Fifth International” allows us better understanding the poet’s figurative and metaphorical system.
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Gamaliia, Kateryna. "ELEMENTS OF ART STUDIES IN MEDIEVAL RESEARCH OF PETER BIZZILLI". CULTURE AND ARTS IN THE MODERN WORLD, nr 23 (30.06.2022): 93–101. http://dx.doi.org/10.31866/2410-1915.23.2022.260969.
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The purpose of the article is to consider the Professor’s contribution at Odesa University, P. Bizzilli, to the domestic medieval studies formation. The reconstruction of the people’s spiritual universe of the past epoch, initiated by P. Bizzilli, is one of the important components of the methodology of humanitarian research, characteristic of many representatives in modern medieval studies. After the romantics of the nineteenth century, interest in the Middle Ages gained new development in the early twentieth century, which contributed to his research at European universities. During the century, M. Bloch (1973), J. Huizinga (1988), M. Barg (1987), J. Le Goff (2005, 2008), U. Eco (2003, 2004) addressed this topic, exploring in detail the features of medieval culture. L. Karsavin (1995), O. Dobiash-Rozhdestvenska (1987) and P. Bizzilli (1916, 1993a, 1993b, 1993c, 1995) should be singled out as active figures in the formation of medieval studies centres in Ukraine. Scientific novelty. For the first time, the medieval works of P. Bizzilli from the standpoint of art history were analysed. Conclusions. P. Bizzilli, considering the main elements that make up the medieval picture of the world, comes to conclusions that coincided with and preceded the creative discoveries of his contemporaries (I. Greaves, L. Karsavin, O. Dobiash-Rozhdestvenska). In particular, it applies to the features of medieval art, the nature of which P. Bizzilli associated with the characteristic of medieval man’s life concept. He considered universalism, symbolism and hierarchy to be the defining features of the medieval worldview, envisaging the formulation of relevant problems by the following authors. A comparative analysis of the medieval works of P. Bizzilli, his contemporaries and researchers in the next years allows us to conclude that among the fields of humanities in which his ideas remain relevant should be called art history. One of the important conclusions of P. Bizzilli was the statement that the formula of medieval culture was symbolism and hierarchy. Medieval fine art, rich in complex and finely designed symbolism, is reduced to understanding and revealing the symbolic meaning of the surrounding reality.
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Smolenska, Svitlana, i Hans-Dieter Nägelke. "Architect Hans Poelzig: a project for Ukraine". Budownictwo i Architektura 22, nr 3 (29.09.2023): 059–72. http://dx.doi.org/10.35784/bud-arch.4241.
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The paper examines one of the fragments of the creative heritage of the famous German architect Hans Poelzig: his competition project of the State Ukrainian Theatre of Mass Musical Action for 4000 seats for Kharkiv. The project is viewed through the prism of little-known competitive events of 1930, which makes it possible to decipher its architectural, compositional, urbanistic and functional ideas, to reveal its symbolism. The study is based on the architect’s original drawings preserved in the archive, primary sources of the early 1930s, biographical and critical works of other authors dedicated to the nominees of the Kharkiv competition, as well as on a comparative and meaningful analysis of architectural graphics and textual documentation.
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Gevorkian, Armen. "Valery Bryusov and the musical world of Russia in the late 19th — early 20th centuries (Introduction)". Literary Fact, nr 15 (2020): 213–36. http://dx.doi.org/10.22455/2541-8297-2020-15-213-236.
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While there are many studies on biography, literary work, and the epistolary heritage of V.Ya. Bryusov, his connections with the musical world of Russia in the late 19th — early 20th centuries remain on the periphery of research interest. Significantly less attention was paid to the historical and literary study of the poet’s personal and creative contacts with composers, music critics, and musicologists. In the late 19th — early 20th centuries V.Ya. Bryusov’s poetry as a source of musical compositions attracted composers of various creative and aesthetic principles, from realistic to modernist, each of whom found in Bryusov's works related images, themes and motifs. Today, the names of more than thirty composers, who addressed both original works and translations of the head of Russian Symbolism, are known. Among them are composers who by the beginning of the 20th century had become original figures of Russian musical culture — A.T. Grechaninov, S.V. Rachmaninov, N.K. Metner, R.M. Glier, S.I. Vasilenko — and less known today V.I. Rebikov, A. Kankarovich, A.G. Shaposhnikov et al. One of the first works devoted to this topic was an article by the poet’s sister, Nadezhda Bryusova, “Music in Valery Bryusov’s works” (Iskusstvo, 1929, no. 3 – 4), outlining two main areas of research: historical and literary and theoretical, philosophical and historical. O. Tompakova, V. Dronov, E. Etkind et al. also researched Bryusov’s connections with the musical culture of Russia at the beginning of the 20th century. Interest in Bryusov’s work did not fade even after the poet’s death, many Soviet composers turned to his poetry in the new socio-political environment. The Appendix contains materials for the annotated bibliography of music editions related to Bryusov
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Dmytrenko, Nataliia. "ICONOGRAPHY OF "THE LAST SUPPER" AND ITS ORIGINS IN THE MONUMENTS OF THE EARLY CHRISTIAN ERA". Research and methodological works of the National Academy of Visual Arts and Architecture, nr 28 (15.12.2019): 98–108. http://dx.doi.org/10.33838/naoma.28.2019.98-108.
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The article deals with the works of monumental painting, decorative and applied art and art of the book miniature of the early Christian era with the first images that refer to the prototypes of the "Last Supper". The research of iconography and the origins of the plot, namely, the influence of Roman art on the formation of iconography and artistic works of Christian art at its earliest stages of creation is the main line of the article. The main problems of identification of the plot, its symbols and use in various art forms are highlighted.In the study of the iconography of the plot "The Last Supper", the main difficulties arise with the origin of the plot, and therefore, with the use of evangelical or synoptic sources for its interpretation by masters who created these works of art. Times of dating, works of the early Christian era over time transformed even more and changed in the context of the development of iconography with its artistic peculiarities. The placement of Christ's disciples during the conduct of the sacrament, their posture, clothing, symbolism and details of the conditional interior, which accompany each work deserve detailed examination, art-study analysis and scientific explanation.In the study of the Byzantine book miniature of the early Christian era, it appears necessary to determine which part of the text from the Holy Scripture is illustrated alongside the image of the "Last Supper" and which additional miniatures accompany it. Also, special attention deserves exceptional and rare in the number of works of decorative and applied arts, in which the plot was embodied. In addition, to consider the origin and development of the iconography of the "Last Supper", it appears necessary to analyse and distinguish the differences in the iconography of works.The material of the article is illustrated by the works of the monumental art of the Roman catacombs and exhibits from the collection of the Louvre Museum, the State Historical Museum in Moscow, the Archbishopric Treasury of the Rossano Cathedral and the miniatures of the Cambridge Library of the Corpus Christi College.