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Статті в журналах з теми "1890-1964 Criticism and interpretation"
Abidin, Sainal. "Andi Selle dalam Pergolakan Bersenjata di Sulawesi Selatan (1950-1964)." Yupa: Historical Studies Journal 1, no. 1 (August 11, 2017): 26. http://dx.doi.org/10.26523/yupa.v1i1.16.
Повний текст джерелаSusilo, Susilo, and Angelia Rantya Apriliawati Suryaningsih. "MONAS SEBAGAI SIMBOL PERJUANGAN BANGSA INDONESIA." Kepariwisataan: Jurnal Ilmiah 9, no. 03 (September 30, 2015): 55–78. http://dx.doi.org/10.47256/kepariwisataan.v9i03.139.
Повний текст джерелаMahyudin, Arista, and Syahrun, Suharni Sudin. "PERKEMBANGAN PEREKONOMIAN MASYARAKAT BUGIS DI KELURAHAN MOLAWE KECAMATAN MOLAWE KABUPATEN KONAWE UTARA: 1964-2016." Journal Idea of History 2, no. 2 (December 27, 2019): 64–76. http://dx.doi.org/10.33772/history.v2i2.865.
Повний текст джерелаSusanti, Nurmalia, Nana Supriatna, and Yeni Kurniawati Sumantri. "Lekra Vs Manikebu: Perlawanan Majalah Sastra terhadap Politik Kebudayaan Pemerintah Masa Demokrasi Terpimpin (1961-1964)." FACTUM: Jurnal Sejarah dan Pendidikan Sejarah 8, no. 1 (September 23, 2019): 97–112. http://dx.doi.org/10.17509/factum.v8i1.20121.
Повний текст джерелаPuspita Sari, Endah, Leo Agung Sutimin, and Akhmad Arif Musadad. "NYAI SUTARTINAH'S NATIONALISM BASED ON PSYCHOHISTORY APPROACH." International Journal of Education and Social Science Research 05, no. 06 (2022): 296–306. http://dx.doi.org/10.37500/ijessr.2022.5623.
Повний текст джерелаBoltwood, Scott. "‘Mildly Eccentric’: Brian Friel's Writings for the Irish Times and the New Yorker." Irish University Review 44, no. 2 (November 2014): 305–22. http://dx.doi.org/10.3366/iur.2014.0126.
Повний текст джерелаVasic, Aleksandar. "Literature on music in the Southslavic Choral Union Herald (1935-1938)." Muzikologija, no. 21 (2016): 185–200. http://dx.doi.org/10.2298/muz1621185v.
Повний текст джерелаMiftakhuddin, Miftakhuddin. "Historiografi Korupsi di Indonesia: Resensi Buku Korupsi dalam Silang Sejarah Indonesia." Rihlah: Jurnal Sejarah dan Kebudayaan 7, no. 2 (December 27, 2019): 168. http://dx.doi.org/10.24252/rihlah.v7i2.11772.
Повний текст джерелаSyahril, Syahril, and Anggip Wilvon. "Zainuddin Labay El Yunusy: Tokoh Pembaharuan Pendidikan Islam di Minangkabau Pada Awal Abad XX (Suatu Tinjauan Historis)." Tarikhuna: Journal of History and History Education 4, no. 2 (January 16, 2023): 174–90. http://dx.doi.org/10.15548/thje.v4i2.5655.
Повний текст джерелаHøirup, Henning. "Nekrolog over Uffe Hansen." Grundtvig-Studier 46, no. 1 (January 1, 1995): 18–25. http://dx.doi.org/10.7146/grs.v46i1.16174.
Повний текст джерелаДисертації з теми "1890-1964 Criticism and interpretation"
Estrada-Berg, Victoria. "Art Criticism and the Gendering of Lee Bontecou's Art, ca. 1959 - 1964." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc5587/.
Повний текст джерелаMurray, Jessica. ""Notes for the Manual Assembly"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157616/.
Повний текст джерелаMalick, Neeraj. "The politics of laughter : a study of Sean O'Casey's drama." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39493.
Повний текст джерелаAbramowitz, Rachel I. "Donald Barthelme and 'Not-Knowing', 1964-1987." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:c183d6a9-86f9-4337-b6c5-4efdc6dc0731.
Повний текст джерелаCranford, Dennis R. (Dennis Ray). "Harmonic and Contrapuntal Techniques in the Late Keyboard Works of Cesar Franck." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc279361/.
Повний текст джерелаCollett, Rachel Joan. "Turning back : continuity and difference in modernist and postmodernist reflexivity." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4256.
Повний текст джерелаENGLISH ABSTRACT: The primary function of paintings and novels in Western culture has historically been considered the depiction or description of reality. Over the course of the last century, however, the inherent reflexivity of both art and literature has become progressively more insistent and programmatic, in such a way as challenges the relationship between form and the world. A re-thinking of the role of representation is thus central to both modernism and postmodernism. This thesis is an investigation into the relationship between modern and postmodern reflexivity. Through the close examination of four artists who serve as case studies, I argue that literary and artistic modernism‟s emphasis on form and subjectivity, as well as the tendency of postmodern art and writing to flaunt its own status as rhetoric/fiction, are different facets of a continuous response to a rapidly changing world. Using the insights of post-structuralist theory, I suggest that whereas modernism‟s reflexive drive is directed towards truth and self-knowledge, postmodern reflexivity is centrally concerned with the elusive, continually shifting nature of meaning. What emerges in the light of the practice of individual artist and authors, however, is that the modern and postmodern reflexive modes are not necessarily mutually exclusive, but can co-exist, producing a vital and necessary tension.
AFRIKAANSE OPSOMMING: Beskrywing en uitbeelding van die werklikheid word geskiedkundig as die kernfunksies van skilderye en die roman in die Westerse kultuur beskou. Gedurende die laaste eeu het die inherente refleksiwiteit van beide kuns en letterkunde toenemend meer programmaties en sistematies geword. Dit het geskied op „n wyse wat die verhouding tussen vorm en die wêreld uitdaag. „n Herbesinning van die rol van uitbeelding of representasie is gevolglik van sentrale belang vir beide modernisme en postmodernisme. Hierdie tesis is „n ondersoek na die verwantskap tussen moderne en postmoderne refleksiwiteit. Deur „n noukerige ondersoek van vier kunstenaars se werk, stel ek voor dat die letterkundige en artistieke klem van modernisme op vorm en subjektiwiteit, sowel as die gebruiklike kenmerk van retoriek/fiksie, verskillende aspekte is van „n voortdurende weerkaatsing op „n vinnig veranderende wêreld is. Deur die teoretiese perspektiewe van post-stukturalisme toe te pas, stel ek voor dat modernistiese refleksiwiteit neig na die waarheid en selfkennis, terwyl postmoderne refleksiwiteit fokus op die onbepaalde en veranderlike aard van betekenis. Nietemin, uit my kritiese beskouing van die kreatiewe praktyk van afsonderlike kunstenaars en skrywers blyk dit dat die modernistiese en postmodernistiese refleksiewe benaderinge nie noodwendig mekaar uitsluit nie, maar saam kan bestaan en „n dinamiese en noodsaaklike spanning skep.
Sena, Yara Máximo de. "Uma leitura do Relatório do Inquérito "Leituras infantis" de Cecília Meireles." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251328.
Повний текст джерелаDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-17T20:00:18Z (GMT). No. of bitstreams: 1 Sena_YaraMaximode_M.pdf: 2867380 bytes, checksum: 8a4566ac80dc92d955beabe1393f926b (MD5) Previous issue date: 2010
Resumo: Este trabalho tem o intuito de tomar o Relatório do Inquérito "Leituras Infantis" realizado por Cecília Meireles com estudantes cariocas do terceiro ao quinto ano da escola primária, no ano de 1931 e publicado em 1934, como objeto-fonte de investigação, no âmbito das suas condições de produção. Conhecer e interpretar os dados oferecidos neste Relatório sobre as leituras e os gostos infantis nos anos 30, através das preferências e aversões quanto a livros, autores, gêneros e práticas de leitura indicadas sob o ponto de vista dos entrevistados. Apoiados nos estudos teórico-metodológicos da História Cultural (Chartier, 1990), compreendendo que é preciso desconfiar das respostas oferecidas pelas crianças, pois elas não estão num campo neutro, mas de lutas, competições e concorrências, onde os grupos tentam impor seus valores e concepções, indiciando o que liam, gostavam ou não e o que era desejável informar que lesse ou apreciasse. E por outro lado, a organização e a interpretação do Inquérito "Leituras Infantis" realizada por Cecília Meireles também se insere neste jogo de representações ligadas à história da leitura e da literatura para crianças de um determinado tempo e local.
Abstract: The present work has the objective of taking as source, in the scope of its writing, the "Relatório do Inquérito Leituras Infantis", made by Cecilia Meireles with students from Rio de Janeiro, from the third until the fifth year of primary school, in the year of 1931 and published in 1934. In addition, its purpose is to know and interpret the data offered by this report about the literature read by the children and also the children's preferred reading in the 30's, through the preferences and aversions to the books, authors, genders and the reading matter from the point of view of the interviewees. Based on the theoretical-methodological studies of Cultural History (Chartier, 1990), it was understood that it was necessary to be cautious about the answers given by the children, because they are not in a neutral field, but a field of fights and competitions, where the groups try to impose their values and ideas, indicating what they had read, liked or disliked, and what the child felt he should respond to the interviewer about what they had read or appreciated. Furthermore, the organization and interpretation of the "Inquérito Leituras Infantis" made by Cecilia Meireles, is also part of this game of representations connected to the history of the reading and the literature for children in a certain time and space.
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
Arima, Hiroko 1959. "The Theme of Isolation in Selected Short Fiction of Kate Chopin, Katherine Anne Porter, and Eudora Welty." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278060/.
Повний текст джерелаKruger, Marieke, and Marieke Malan. "Reflecting self : an exploration of drawing trace as reciprocity between self and life-world, with reference to my own drawing and selected works of Diane Victor." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96943.
Повний текст джерелаENGLISH ABSTRACT: The study postulates that drawing functions as a valuable vehicle that facilitates reciprocity between the drafter and her life-world. This relationship of exchange can bring about transformation of the self. The study is a qualitative study that aims to establish an understanding of how drawing functions as a vehicle facilitating reciprocity between the drafter and her life-world. In order to effectively research the transformative potential of reciprocity between artist, drawing, and life-world, theoretically and practically, the study is divided into two main parts. Firstly, it constitutes a theoretical section, which forms the foundation for further exploration in the second part of the study. Secondly, the study focuses on the practical manifestation of the theories as manifest in my drawings and in selected drawings of Diane Victor, whose work primarily functions as ‘a third person perspective’ in relation to my own work. The study is rooted in a psycho-analytical framework, focusing on Self psychology and Intersubjective Psychoanalysis of personality psychologists such as Jung, Miller, Goldberg and McAdams, amongst others, as well as the writings of philosophers, art historians and drawing theorists such as Jacques Derrida, Catherine de Zegher, and Suzi Gablik. Valuable links are forged between the transformative potential of drawing, the psychological and the spiritual. Parallels are drawn between notions derived from self-psychology and theology, based on the premise that human beings constitute body (physical aspect), soul (mind and emotion) and spirit, three components that are hardly divisible and that work together in drawing, effecting the transformation of the self. I argue that a failure to acknowledge the significance of the interactivity between these facets limits and inhibits the transformative potential of the drawing process. Through interactivity between the self and her life-world through drawing, moments of ‘recognition’ and ‘knowing’ occur - concerning hidden ‘truths’ of the self, which could affect personal transformation. In this study, life-world comprises inner and outer world, a visible and invisible world. The visible world focuses on the interaction of the self with nature and culture, and the invisible world focuses on the interaction of the self with a psychic world, which includes the workings of the conscious and unconscious mind in drawing and their connection with a spiritual dimension. The spiritual aspect in drawing is researched through the notions of transformative “presence” and the “transcendent function” of drawing. The study explores the psychological and spiritual value of drawings as transformative selfobjects to address the general neglect of the spiritual. I affirm that there exists a mutually conducive potential and influence that the interplay between the spiritual and the psychological in the drawing process bring about. As a “selfobject”, a drawing attains its own ‘silent visual language’ replacing or assisting the role of the therapist, becoming pivotal in a transformative ‘interpersonal dialogue’. Lastly, Jung (Miller, 2004:4) claims that the unification of the conscious and unconscious eventually results in “a living birth that leads to a new level of being, a new situation” (Miller, 2004:4).
AFRIKAANSE OPSOMMING: Die studie veronderstel dat teken funksioneer as 'n waardevolle voertuig wat wisselwerking fasiliteer tussen die tekenaar en haar omwêreld, ‘n wisselwerking wat kan lei tot transformasie van die self. Die studie is 'n kwalitatiewe studie wat daarop gemik is om 'n begrip te kweek van hoe teken funksioneer as voertuig wat wisselwerking fasiliteer tussen die self en haar omwêreld. Ten einde die transformatiewe potensiaal van sodanige wisselwerking deur middel van teken effektief te bestudeer op ʼn teoretiese asook ʼn praktiese vlak, word die studie verdeel in twee hoofdele. Eerstens bied die studie 'n teoretiese gedeelte wat die grondslag vorm vir verdere ondersoek in die tweede deel. Tweedens fokus die studie op die praktiese manifestasie en toeligting van die teorieë in my tekeninge en in geselekteerde tekeninge van Diane Victor, wie se werk hoofsaaklik funksioneer as ‘ʼn derde persoon perspektief’ in verhouding tot my eie werk. Die studie is gewortel in 'n psigo-analitiese raamwerk, met die fokus op Selfsielkunde en Intersubjektiewe Psigo-analise van persoonlikheidsielkundiges soos Jung, Miller, Goldberg en McAdams, onder andere, sowel as die geskrifte van filosowe, kunsgeskiedkundiges en tekenteoretici soos Jacques Derrida, Catherine de Zegher en Suzi Gablik. Die studie het dus ten doel om betekenisvolle bande te smee tussen die transformerende potensiaal van teken, die sielkundige asook geestelike werking wat dit teweegbring. Parallelle word getrek tussen begrippe in selfsielkunde en teologie, gebaseer op die veronderstelling dat die mens bestaan uit liggaam (fisiese aspek), siel (verstand en emosies) en gees. Hierdie onderskeie aspekte (liggaam, siel en gees), is moeilik deelbaar en werk onlosmaaklik saam in die tekenproses ten einde die transformasie van die self te bevorder en te bewerkstellig. Ek argumenteer dat indien ‘n mens versuim om die betekenis en waarde van die interaktiwiteit tussen hierdie fasette te herken, word die transformatiewe potensiaal van die tekenproses misken. Teken kan derhalwe beskou word as ʼn effektiewe voertuig wat wisselwerkende prosesse tussen die self en haar leefwêreld fasiliteer, waartydens daar oomblike van ‘erkenning’ en ‘weet’ voorkom met betrekking tot verborge ‘waarhede’ van die self wat persoonlike transformasie kan beïnvloed. In hierdie studie word daar na omwêreld verwys as 'n interne asook ʼn eksterne wêreld, 'n sigbare en onsigbare wêreld. Wisselwerking dui op die interaksie van die self met die natuur asook kultuur as die sigbare. Wisselwerking dui ook op interaksie van die self met 'n psigiese, onsigbare wêreld. Hierdie psigiese wêreld van die self omvat die bewuste en onderbewussyn deur middel van teken, asook die verband met' n geestelike dimensie. Die geestelike aspek in teken word bestudeer deur die konsepte van transformatiewe "teenwoordigheid" en die "transedentale funksie" van teken. Die studie ondersoek die sielkundige en geestelike waarde van tekeninge wat as transformatiewe ‘selfobjekte’ die potensiaal besit om die algemene verwaarlosing van die geestelike aan te spreek. Ek bevestig dat daar 'n wedersydse bevorderlike wisselwerking en invloed bestaan tussen die geestelike en die psigologiese wat deur wederkerige prosesse binne die tekenproses gefasiliteer word. As 'n ‘selfobjek’ kommunikeer tekeninge deur hul eie ‘stille visuele taal’ en toon die potentiaal om die rol van ʼn terapeut te vervang, of alternatiewelik, te ondersteun, deur middel van visuele ‘interpersoonlike dialoog’. Laastens, beweer Jung dat die eenwording van die bewuste en onbewuste eventueel kulmineer in "ʼn lewende geboorte wat lei tot 'n nuwe vlak van bestaan, 'n nuwe situasie" (Miller, 2004:4).
Duncan, Dawn E. (Dawn Elaine). "Language and Identity in Post-1800 Irish Drama." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277916/.
Повний текст джерелаКниги з теми "1890-1964 Criticism and interpretation"
Morandi, Giorgio. Giorgio Morandi 1890-1964. Milan: Electa, 1989.
Знайти повний текст джерелаMorandi, Giorgio. Giorgio Morandi, 1890-1964: Gemälde, Aquarelle, Zeichnungen, Radierungen. Köln: DuMont, 1989.
Знайти повний текст джерелаMorandi, Giorgio. Giorgio Morandi, 1890-1964: Musée Cantini, 13 avril - 18 juin 1985. [Marseille]: Direction des musées de Marseille, 1985.
Знайти повний текст джерелаRuppel, Richard R. Gottfried Keller and his critics: A case study in scholarly criticism. Columbia, SC: Camden House, 1998.
Знайти повний текст джерелаKovtun, E. F. Mikhail Larionov: 1881-1964. Sankt-Peterburg: Avrora, 1998.
Знайти повний текст джерелаMuller, Roel H. Smit. Stien Eelsingh, 1903-1964. Zwolle: Waanders, 1998.
Знайти повний текст джерелаNaldi, Monica. Mara Corradini, 1880-1964. Zürich: AS Verlag, 1995.
Знайти повний текст джерелаFranzo, Stefano. Alessandro Pomi, 1890-1976. [Treviso, Italy]: Zoppelli e Lizzi, 2009.
Знайти повний текст джерелаHuerta, Moisés Bazán de. Eulogio Blasco: Cáceres, 1890-1960. Cáceres: Institución Cultural "El Brocense," Diputación Provincial de Cáceres, 1991.
Знайти повний текст джерелаEsa. Oẏājeda Āli, 1890-1951. Ḍhākā: Bāṃlā Ekāḍemī, 1987.
Знайти повний текст джерелаЧастини книг з теми "1890-1964 Criticism and interpretation"
Camlot, Jason. "Alfred, lord Tennyson’s Spectral Energy." In Phonopoetics, 100–136. Stanford University Press, 2019. http://dx.doi.org/10.11126/stanford/9781503605213.003.0004.
Повний текст джерелаCurti, Roberto, and Roberto Curti. "Prologue (and Epilogue)." In Blood and Black Lace, 7–8. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781911325932.003.0001.
Повний текст джерела"clash between the beauty-loving Renaissance and the he [Spenser] was quickly swept overboard because of moral Reformation. In the light of the medieval reli-his inability to write like Donne, Eliot, and Allen gious tradition examined by Tuve, Guyon destroys Tate’ (1968:2). His extended interpretation of Book the Bower because he ‘looks at the kind of complete II, The Allegorical Temper (1957), followed by essays seduction which means the final death of the soul’ on the other books, traces the changing psycholo-(31). gical or psychic development of the poem’s major If the New Critics of the 1930s to the early 1950s characters by ‘reading the poem as a poem’ (9) rather had been interested in Spenser (few were), they than as a historical document. My own book, The would not have considered his intention in writing Structure of Allegory in ‘The Faerie Queene’ (1961a), The Faerie Queene because that topic had been dis-which I regard now as the work of a historical critic missed as a fallacy. For Wimsatt and Beardsley partly rehabilitated by myth and archetypal criticism, 1954:5 (first proclaimed in 1946), ‘The poem is not examines the poem’s structure through its patterns the critic’s own and not the author’s (it is detached of imagery, an interest shared with Alastair Fowler, from the author at birth and goes about the world Spenser and the Numbers of Time (1964), and by beyond his power to intend about it or control it)’. Kathleen Williams, Spenser’s ‘Faerie Queene’: The So much for any poet’s intention, conscious or World of Glass (1966). unconscious, realized or not. Not that it would have In any history of modern Spenser criticism – for a mattered much, for the arbiter of taste at that time, general account, see Hadfield 1996b – Berger may T.S. Eliot, had asked rhetorically: ‘who, except schol-serve as a key transitional figure. In a retrospective ars, and except the eccentric few who are born with glance at his essays on Spenser written from 1958 to a sympathy for such work, or others who have delib-1987, he acknowledges that ‘I still consider myself erately studied themselves into the right apprecia-a New Critic, even an old-fashioned one’ who tion, can now read through the whole of The Faerie has been ‘reconstructed’ by New Historicism Queene with delight?’ (1932:443). In Two Letters, (1989:208). In Berger 1988:453–56, he offers a per-Spenser acknowledges that the gods had given him sonal account of his change, admitting that as a New the gift to delight but never to be useful (Dii mihi, Critic he had been interested ‘in exploring complex dulce diu dederant: verùm vtile numquam), though representations of ethico-psychological patterns’ he wishes they had; and, in the Letter to Raleigh, he apart from ‘the institutional structures and discourses recognizes that the general end of his poem could be that give them historical specificity’. Even so, he had achieved only through fiction, which ‘the most part allowed that earlier historical study, which had been of men delight to read, rather for variety of matter, concerned with ‘historical specificity’, was ‘solid and then for profite of the ensample’ (10). As a conse-important’. For the New Historicist Louis Adrian quence, he addresses his readers not by teaching them Montrose, however, earlier historical scholarship didactically but rather through delight. It follows that ‘merely impoverished the text’ (Berger 1988:8), and if his poem does not delight, it remains a closed book. he is almost as harsh towards Berger himself, com-Several critics who first flourished in the 1950s and plaining that his writings ‘have tended to avoid direct 1960s responded initially to Spenser’s words and confrontations of sociopolitical issues’, though he imagery rather than to his ideas, thought, or histor-blames ‘the absence of a historically specific socio-ical context. One is Donald Cheney, who, in Spenser’s political dimension’ on the time they were written – Image of Nature (1966), read The Faerie Queene a time when ‘the sociopolitical study of Spenser was ‘under the intensive scrutiny which has been applied epitomized by the pursuit of topical identifications or in recent decades to metaphysical lyrics’, seeking the cataloguing of commonplaces’ (7). In contrast, out ‘ironic, discordant impulses’, ‘rapidly shifting the New Historicism, of which he is the most elo-allusions’, and the poet’s ‘constant insistence upon quent theorist, sees a work embedded – i.e. intrins-the ambiguity of his images’ (7, 17, 20). Another is ically, inextricably fixed – not in history generally, Paul Alpers, whose The Poetry of ‘The Faerie Queene’ and certainly not in ‘cosmic politics’ that Thomas (1967) demonstrated that individual stanzas of the Greene 1963:406 claims to be the concern of all epics, poem may be subjected to very intense scrutiny. A but in a historically specific sociopolitical context. third, the most influential of all, is Harry Berger, Jr, (For further comments on their clash, see Hamilton." In Spenser: The Faerie Queene, 25. Routledge, 2014. http://dx.doi.org/10.4324/9781315834696-23.
Повний текст джерела