Добірка наукової літератури з теми "David Anthony Criticism and interpretation"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся зі списками актуальних статей, книг, дисертацій, тез та інших наукових джерел на тему "David Anthony Criticism and interpretation".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Статті в журналах з теми "David Anthony Criticism and interpretation"
1
Wibowo, Safrudin Edi. "Kritik Sejarah dan Literasi terhadap Hukum Waris Islam dalam Pandangan David S. Powers." ISLAMICA: Jurnal Studi Keislaman 4, no. 2 (January 22, 2014): 306. http://dx.doi.org/10.15642/islamica.2010.4.2.306-318.
Повний текст джерелаАнотація:
Conventionally speaking, the current Muslim law of inheritance is habitually considered as a sufficient and final form of legal formula that reflects the true spirit of Islamic Law ordained by God. The majority of Muslims currently are of belief that the ulama of the first generation have passed down to us the most complete and sophisticated set of law based on their acute interpretation of the Qur’an and the Sunnah. This belief however has now been subjected to a severe criticism by the contemporary critiques especially from the like of David S. Powers. His Studies in Qur’an and Hadith: The Formulation of the Islamic Law of Inheritance that employs the historical and literary criticism approach discovered that there are other sides of Muslim inheritance law. This work challenges the established belief among the traditional Muslims and offers a new legal paradigm whereby a legal ruling must bee seen as reflecting a social and historical dimension. This paper in every respect is a critical review of Powers’ book.
2
RIVAL, ROBERT. "The Comfort of Denial: Metre, Cyclic Form, and Narrative in Shostakovich's Seventh String Quartet." Twentieth-Century Music 6, no. 2 (September 2009): 209–35. http://dx.doi.org/10.1017/s1478572210000174.
Повний текст джерелаАнотація:
AbstractRecent scholarship has taken the leap from documenting cyclic form in Shostakovich's Seventh String Quartet to its interpretation. David Fanning, Judith Kuhn, and Sarah Reichardt, for instance, endorse a belief in the quartet's satisfactory closure. I propose an alternative reading that qualifies such resolution as merely apparent. I posit a musical ‘persona’ (Edward T. Cone) that achieves comfort in denial. I support my claim by analysing shifting hypermetre, metrical insertions, motif, and cyclic form, then weave my observations into a narrative interpretation. While acknowledging the limitations of the narrative analogy (following Carolyn Abbate, Lawrence Kramer, and Jean-Jacques Nattiez), I rely on its principal strength: the ability to help construct a compelling interpretation of the elusive ‘meaning’ of a piece of absolute music (Cone, Fred Maus, Anthony Newcomb, Leo Treitler). I conclude that the peculiar arrangement of shifting metrical identities and the DSCH-motto-related fragments tell a psychological story: of a musical persona's thwarted search for self.
3
JOSEPH T. EKONG, REV FR, and O.P. "Hume's Critique of Locke’s Variant Of "Social Contract Theory”: A Ratiocinative Assessment." International Journal of Scientific and Management Research 05, no. 07 (2022): 98–109. http://dx.doi.org/10.37502/ijsmr.2022.5709.
Повний текст джерелаАнотація:
David Hume (1711-1776) has long been considered a severe denunciator of 'social contract theory', and this interpretation has implicitly premised a perspective that lays heavy weight on the importance of social contract in the history of political thought. This work presents Hume's critique of the Lockean version of the social contract, and identifies the issues responsible for such criticism. In Book 3 of Hume's Treatise on Human Nature (henceforth T), Hume displays his systematic criticism of social contract theory. Hume did not consider social contract theory as an important trend in the history of political thought. One of his points was that 'social contract theory' was quite new, strange and 'heterodoxical' in politics. This work offers an appraisal of Hume’s stance on the Lockean variant of “Social Contract Theory” and proposes a more judicious textual reading of his contributions in this regard.
4
Wright, John Randolph. "The “Unfading Crown of Glory” as Conceptual Key." Novum Testamentum 65, no. 1 (January 2, 2023): 83–108. http://dx.doi.org/10.1163/15685365-bja10032.
Повний текст джерелаАнотація:
Abstract This article seeks to offer a new reading of 1 Peter, while building upon the work of Barth L. Campbell, Travis B. Williams, and David G. Horrell (and others of course). Campbell sought to elucidate the importance of honor for the audience of 1 Peter utilizing Rhetorical Criticism, while both Williams and Horrell have employed Postcolonial Criticism to provide a reading “from the margins.” Specifically, Williams offered an interpretation of “good works” which situated that semantic and conceptual domain within subaltern strategies of mimicry and symbolic inversion. However, heretofore largely unexplored in 1 Peter is that aspect of the honor equation which actualizes honor: the honorific. This study argues that “the unfading crown of glory” in 1 Pet 5:4 serves as a conceptual key to the subversive honorific language within, thereby actualizing (and subverting) the broader theme of honor through the recognition of “good works.”
5
Pradita, Yola. "Memaknai Kisah Daud dan Batsyeba Melalui Kritik Naratif Dalam Teks 2 Samuel 11:1-27." Danum Pambelum: Jurnal Teologi Dan Musik Gereja 1, no. 1 (May 30, 2021): 37–55. http://dx.doi.org/10.54170/dp.v1i1.38.
Повний текст джерелаАнотація:
David was a clever king, great at war, correct in making decisions, sincere and loyal. However, the writer book of 2 Samuel did not consider King David to be a great dan perpect king in his leadership. David had a week point too, so that David’s sin was told frankly. This study aims to interpret David weakness in the story of David and Bathsheba (2 Samuel 11: 1-27) through the method of narrative criticism, then it can be provide relevance for today's life. The result of the narrative criticism that has been done is David disregarded God's law in using his power, even he was sleeping with Bathsheba, the Uriah wife’s. Bathsheba and the other characters in the narrative are only supporting figures representing small people to criticize David's power. The results of this interpretation can be relevant for Christian leaders today. This text means that everything we are doing must be in accordance with God's perspective. A Christian leader in his power must be under God's law, because a leader is an example and role model for many people.
Daud adalah seorang raja yang pandai, hebat dalam peperangan, tepat dalam mengambil keputusan, tulus dan setia. Namun, penulis kitab 2 Samuel tidak menganggap raja Daud sebagai raja yang hebat dan sempurna dalam kepemimpinannya. Daud juga mempunyai titik kelemahan sehingga dosa Daud pun diceritakan dengan terus terang. Penelitian ini bertujuan untuk memaknai kelemahan Daud dalam kisah Daud dan Batsyeba (2 Samuel 11:1-27) melalui metode kritik naratif, kemudian direlevansikan bagi kehidupan masa kini. Hasil dari kritik naratif yang sudah dilakukan adalah Daud tidak menghiraukan hukum Allah dalam menggunakan kekuasaannya, ia tidur dengan Batsyeba, istri Uria. Batsyeba dan tokoh lain dalam narasi hanyalah tokoh pendukung yang mewakili orang-orang kecil untuk mengkritik kekuasaan Daud. Hasil penafsiran ini dapat direlevansikan bagi para pemimpin Kristen masa kini. Teks ini bermakna bahwa segala sesuatu yang dilakukan harus sesuai dengan perspektif Allah. Seorang pemimpin kristen dalam kekuasaannya harus berada di bawah hukum Allah, sebab seorang pemimpin adalah teladan dan panutan bagi banyak orang.
6
Callus, Ivan. "Literature in Our Time, or, Loving Literature to Bits." CounterText 1, no. 2 (August 2015): 232–69. http://dx.doi.org/10.3366/count.2015.0019.
Повний текст джерелаАнотація:
In this essay Ivan Callus provides some reflections on literature in the present. He considers the tenability of the post-literary label and looks at works that might be posited as having some degree of countertextual affinity. The essay, while not setting itself up as a creative piece, deliberately structures itself unconventionally. It frames its argument within twenty-one sections that are self-contained but that also echo each other in their attempt to develop an overarching argument which draws out some of the challenges that lie before the countertextual and the post-literary. Punctuating the essay and contributing to its unconventional take on the practice of literary criticism is a series of exercises for the reader to complete, if so wished; the essay makes no attempt, however, to suggest that a countertextual criticism ought to make a routine of such devices. The separate sections contain reflections on a number of texts and writers, among them, and in order of appearance, Hamlet, Anthony Trollope, Jacques Derrida, The Time Machine, Don Quixote, Mark Z. Danielewski, Mark B. N. Hansen, Gunter Kress, Scott's Reliquiae Trotcosienses, W. B. Yeats, Kate Tempest, David Jones, Anne Michaels, Bernice Eisenstein, Paul Auster, J. M. Coetzee, Billy Collins, Deidre Shauna Lynch, Tim Parks, Tom McCarthy – and Hamlet again. The essay's length fulfils a performative function but also facilitates as extensive a catalogue of aspects of the countertextual in literature and elsewhere as is feasible or as might be dared at this stage.
7
Feldman, Stephen M. "An Interpretation of Max Weber's Theory of Law: Metaphysics, Economics, and the Iron Cage of Constitutional Law." Law & Social Inquiry 16, no. 02 (1991): 205–48. http://dx.doi.org/10.1111/j.1747-4469.1991.tb00919.x.
Повний текст джерелаАнотація:
Among legal scholars, Anthony T. Kronman and David M. Trubek have provided the leading interpretations of Weber's theory of law. Kronman and Trubek agree on two important points: Weber's theory is fundamentally contradictory, and Weber's theory relates primarily to private law subjects such as contracts. This article contests both of these points. Building on a foundation of Weber's neo-Kantian metaphysics and his sociological categories of economic action, this article shows that Weber's theory of law is not fundamentally inconsistent; rather it explores the inconsistencies that are inherent within Western society itself, including its legal systems. Furthermore, Weber's insights can be applied to modern constitutional jurisprudence. Weberian theory reveals that modern constitutional law is riddled with irreconcilable tensions between process and substance—between formal and substantive rationality. In the context of racial discrimination cases involving equal protection and the Fifteenth Amendment, the Supreme Court's acceptance of John Hart Ely's theory of representation-reinforcement demonstrates the Court's resolute pursuit of formal rationality, which insures that the substantive values and needs of minorities will remain unsatisfied.
8
Eskola, Timo. "Quran Criticism, the Historical-Critical Method, and the Secularization of Biblical Theology." Journal of Theological Interpretation 4, no. 2 (2010): 229–51. http://dx.doi.org/10.2307/26421305.
Повний текст джерелаАнотація:
Abstract The emergence of historical criticism of the Bible was partly influenced by medieval Quran criticism. This background was still well known in the 19th century but was later forgotten when emphasis was laid on Greek literature. Scholars such as Riccoldo da Monte di Croce had written critical works against the Quran. This tradition reemerged 200 years later in Germany when Martin Luther translated Riccoldo's Confutatio Alcorani. The special features in Riccoldo's work are the criteria he used hoping to prove that the Quran was not divine revelation. The famous Deist Hermann Reimarus later demanded that the Bible be read in the same way as other literature. His examples in Wolfenbüttel Fragments are mostly taken from the Quran. Reimarus adopted Riccoldo's criteria when interpreting the Bible. The purpose of his rationalistic criticism was to show that contradictions, inconsistencies, and lies prove that, as with the Quran, neither can the Bible be held as divine revelation. Reimarus, in his apology "for the Rational Reverers of God," stated that Christian doctrines are based on a fraud because the apostles created the whole Systema only after Jesus' death. Jesus' original proclamation was political. This dichotomy, confirmed later in David Strauss's biography on Reimarus, became the basis for the criterion of dissimilarity in NT interpretation. Rudolf Bultmann then gave this criterion its present formulation, and it is still used, for instance, by the Jesus Seminar.
9
Eskola, Timo. "Quran Criticism, the Historical-Critical Method, and the Secularization of Biblical Theology." Journal of Theological Interpretation 4, no. 2 (2010): 229–51. http://dx.doi.org/10.2307/jtheointe.4.2.0229.
Повний текст джерелаАнотація:
Abstract The emergence of historical criticism of the Bible was partly influenced by medieval Quran criticism. This background was still well known in the 19th century but was later forgotten when emphasis was laid on Greek literature. Scholars such as Riccoldo da Monte di Croce had written critical works against the Quran. This tradition reemerged 200 years later in Germany when Martin Luther translated Riccoldo's Confutatio Alcorani. The special features in Riccoldo's work are the criteria he used hoping to prove that the Quran was not divine revelation. The famous Deist Hermann Reimarus later demanded that the Bible be read in the same way as other literature. His examples in Wolfenbüttel Fragments are mostly taken from the Quran. Reimarus adopted Riccoldo's criteria when interpreting the Bible. The purpose of his rationalistic criticism was to show that contradictions, inconsistencies, and lies prove that, as with the Quran, neither can the Bible be held as divine revelation. Reimarus, in his apology "for the Rational Reverers of God," stated that Christian doctrines are based on a fraud because the apostles created the whole Systema only after Jesus' death. Jesus' original proclamation was political. This dichotomy, confirmed later in David Strauss's biography on Reimarus, became the basis for the criterion of dissimilarity in NT interpretation. Rudolf Bultmann then gave this criterion its present formulation, and it is still used, for instance, by the Jesus Seminar.
10
Hollander, Samuel. "On Composition of Demand and Income Distribution In Classical Economics." History of Economics Society Bulletin 11, no. 2 (1989): 216–21. http://dx.doi.org/10.1017/s1042771600005949.
Повний текст джерелаАнотація:
In several reviews of my Classical Economics (1987; henceforth CE) a criticism recurs relating to my proposition that distribution in Ricardian economics is dependent upon the pattern of final demand. Anthony Brewer, who is convinced by the demonstration in the book of ‘a fundamentally important core of general equilibrium economics accounting for resource allocation in terms of the rationing function of relative prices,’ has stated the objection fairly and his formulation invites and deserves a response:[Hollander] does overstate his case at times. For example, he claims that, in Ricardo's theory, changes in the pattern of demand should react on the demand for labour, and thus on wages, while admitting that ‘Ricardo himself never formally made’ this extension [CE, p. 104]. He later uses exactly this interaction of demand and wages to support his interpretation of Ricardo against Dobb [CE, p. 360]. Surely, the fact that Ricardo did not ‘formally make’ this point (i.e., did not make it at all) is an argument against Hollander's reading, not for it (1988, p. 555).
Дисертації з теми "David Anthony Criticism and interpretation"
1
Haspel, Jane Seay. "Dirty Jokes and Fairy Tales: David Mamet and the Narrative Capability of Film." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278457/.
Повний текст джерелаАнотація:
David Mamet is best known as a playwright, but he also has a thriving film career, both as screenwriter and as director. He has taken very seriously each of these roles, formulating theories that, he suggests, account for the creative choices he makes. Though Mamet sometimes contradicts himself, as when he suggests that viewers should have the satisfaction of constructing their own meaning of a work, but at the same time is devoted to montage, which works by juxtaposing images that lead to a single interpretation, he clearly sees the story as a critical avenue into the spectator's unconscious, where he hopes it will resonate with a truth that speaks directly to the individual. His films House of Games, Things Change, and Homicide clearly reflect his ideas on the best ways of conveying a story on film. In House of Games, Mamet draws on Bruno Bettelheim's theories to construct a fairy tale designed to act on adult viewers in the same way that fairy tales act on the child. In Things Change, he creates a fable that explores issues of friendship and honor within the milieu of the gangster genre. And in Homicide, Mamet uses the expectations viewers bring to the theatre in anticipation of a genre film to explore themes of loyalty and identity. In Oleanna, however, Mamet relies heavily on exposition and dialogue, rather than the visual elements that separate the film from drama, which renders the film the antithesis of his long-held philosophy of film narrative. Mamet's best film work, in House of Games and Homicide, has been innovative and thought-provoking, bringing depth to the new noir and redefining the cop film. His work in Oleanna, though it may prove to be an anomaly, may suggest a surrender of his principles of filmmaking or a reformulation of them to fit some new vision.
2
Latouche, Pierre-Edouard. "L' art de choisir un sujet dans la peinture d'histoire de Jacques-Louis David (1748-1825)." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26236.
Повний текст джерелаАнотація:
The choice of subject for a history painting, long considered motivated by dramatic considerations, appears to be also, in the light of numerous documents, the expression of the painter's craft. The following study will attempt to demonstrate this aspect in the oeuvre of Jacques-Louis David and, in particular, in The Oath of the Horatii.
3
Fagan-Cannon, Amy L. "Culinary Tourism with Anthony Bourdain: Cultural Colonialism, Masculinity and the Exotic "Other"." Fogler Library, University of Maine, 2009. http://www.library.umaine.edu/theses/pdf/Fagan-CannonAL2009.pdf.
Повний текст джерела
4
Egers, Wayne. "David Cronenberg's body-horror films and diverse embodied spectators." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82863.
Повний текст джерелаАнотація:
This dissertation is an interdisciplinary study of David Cronenberg's body-horror films in relation to their embodied spectators. In these films, the horror is not only about the vulnerability of the mortal body, but also about the horrific consequences of organizing culture around the philosophical splitting of the mind from the body. To analyze this relationship, I utilize Merleau-Ponty's phenomenology of the body, object-relations psychoanalysis, especially D. W. Winnicott's theory of the intermeshed psyche-soma, various pro-feminist approaches to horror films, and a concept of ideology informed by nonverbal communication research. The historical arc of Cronenberg's body-horror films has produced a unique cultural record of the impact of technological change on physical bodies through dark fantasies of biological-medical technologies in Shivers, Rabid, The Brood, and Scanners; video communication technologies in Videodrome; and genetic-engineering technologies in The Fly .My primary thesis is that Cronenberg's body-horror films encourage spectators to "read" not only with their rational-cognitive skills but with their embodied experience as well, which includes emotional and sensory memories, and fantasies, both archaic and contemporary. Cronenberg's appeal to an integrated psyche-soma reading is crucial for understanding how the culturally induced splitting of the mind from the body impacts on working class resistance to exploitative ideology.
In chapter one I argue that the diverse and contradictory readings of Cronenberg's body-horror films are possible, because of the interdependence of the cinematic text, historical and cultural context, and the embodied experience of spectators-critics. Chapter two is a preliminary step towards developing an alternative theory of the horror film spectator, by exploring the productive tension between an active, creative and embodied real viewer, and an ideologically determined, ideal subject of the cinematic apparatus. Chapter three compares Cronenberg's fantasy of metamorphosis body-horror to the fantasy of "leaving the body behind" depicted in many contemporary cyborg films. Chapter four is a series of close readings, analyzing how Cronenberg embeds "imaginary spectators" into his body-horror films through interweaving the body language of his characters and the nonverbal communication of the mise en scene with narrative strategies formulated through the plot.
5
Barnes, Jennifer Michelle. "Images of distant lands : a comparison of the compositional techniques used by Georges Bizet and Felicien David to portray the exotic in their operatic works." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1221301.
Повний текст джерелаАнотація:
Georges Bizet (1838-1875) is best known for his operatic masterpiece, Carmen, but his other works have received much criticism. Much of this criticism stems from the belief that his work was simply derivative of other composers, including the father of French musical exoticism, Felicien David (1810-1876). However, there has never been any formal study comparing the two composers' compositional techniques.The purpose of this study is to compare the approaches that both Bizet and David took to portray the exotic in their operatic works, and to categorize any differences or similarities between the two composers' styles. The operas chosen for this study include Bizet's Les Pecheurs de perles (1863) and Djamileh (1872), as well as David's La Perle du Bresil (1851) and Lalla-Roukh (1862). Detailed historical background and musical analysis will be provided for each opera.School of Music
6
Nettelbeck, Amanda E. ""The darkness at our back door" : maps of identity in the novels of David Malouf and Christopher Koch /." Title page, table of contents and abstract only, 1991. http://web4.library.adelaide.edu.au/theses/09PH/09phn4731.pdf.
Повний текст джерела
7
Van, Wyk Ilse-Mari, and Wyk Ilse-Mari Van. "A style analysis of David Baker's composition for cello and percussion: "Singers of Songs-Wears of Dreams"." Diss., The University of Arizona, 1989. http://hdl.handle.net/10150/624861.
Повний текст джерелаАнотація:
David Baker is a prominent American composer, noted for his fusion of jazz elements with western art
music. The focus of this study is on his composition for cello and percussion, Singers of Songs-Weavers of Dreams, where this fusion is particularly evident.
Baker's writing for the cello is most innovative and of considerable historical significance. Firstly, he introduced the cello to the realm of jazz, and secondly, revolutionized fingering patterns in order to accomodate jazz modal sequences and improvisational
patterns.
This composition is truly a milestone in the cello literature, unprecedented in style and technical innovation, and deserving of more attention.
8
Grimanis, Catherine. "The narrator in D.H. Lawrence's travel fiction : nostalgia, disillusion, and vision." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61874.
Повний текст джерела
9
Tapley, Lance. "A Universal and Free Human Nature: Montaigne, Thoreau, and the Essay Genre." Fogler Library, University of Maine, 2002. http://www.library.umaine.edu/theses/pdf/TapleyL2002.pdf.
Повний текст джерела
10
Balcerak, Jonathan M. "The binary nature of relationships in two David Mamet duologues : A life in the theatre and Oleanna." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1020179.
Повний текст джерелаАнотація:
Although David Mamet is one of the most frequently studied of the postmodern American playwrights, scholarly criticism has neglected to examine the dynamic that is unique to his two-person plays, or duologues. This study explores various aspects of that duologic dynamic, concentrating on two of Mamet's two-person plays, A Life in the Theatre and Oleanna. The relationships in both plays are sustained by the characters' desire for power. As is typical of a Mametian play, power is obtained through language and dialogue. The fact that there are two characters in each of the plays serves to intensify the conflict and to remind the audience of the binary nature inherent in drama.Department of English
Книги з теми "David Anthony Criticism and interpretation"
1
Anthony Mann. Firenze: La Nuova Italia, 1986.
Знайти повний текст джерела
2
Stinson, John J. Anthony Burgess revisited. Boston, Mass: Twayne, 1991.
Знайти повний текст джерела
3
McEwan, Neil. Anthony Powell. London: Macmillan, 1991.
Знайти повний текст джерела
4
Anthony Hecht. New York: P. Lang, 1989.
Знайти повний текст джерела
5
Paul, Moorhouse, Fried Michael, Hickey Dave 1940-, Caro Anthony 1924-, and Tate Britain (Gallery), eds. Anthony Caro. London: Tate Pub., 2005.
Знайти повний текст джерела
6
Mark-Anthony Turnage. London: Faber, 2000.
Знайти повний текст джерела
7
Anthony Powell. New York: St. Martin's Press, 1991.
Знайти повний текст джерела
8
Pinelli, Antonio. David. Milano: 5 continents, 2004.
Знайти повний текст джерела
9
Bigsby, C. W. E. David Mamet. London: Methuen, 1985.
Знайти повний текст джерела
10
Dean, Joan Fitzpatrick. David Hare. Boston: Twayne Publishers, 1990.
Знайти повний текст джерелаЧастини книг з теми "David Anthony Criticism and interpretation"
1
Beiser, Frederick C. "The Rogue’s Gallery." In David Friedrich Strauß, Father of Unbelief, 84–113. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198859857.003.0009.
Повний текст джерелаАнотація:
This chapter treats Strauß’s Streitschriften, his chief polemical writing against the first critics of Das Leben Jesu. These critics came from many quarters, from young Hegelians to orthodox pietists and Lutherans. The Streitschriften are very revealing about Strauß’s ambivalence on certain issues, viz., whether the dogma of Christ’s resurrection was necessary for Christianity; they also show that Strauß held out the possibility of an allegorical interpretation of the Bible. The Streitschriften are most interesting about the reasons for Strauß’s allegiance to criticism and the authority of reason. Here we see why Strauß believed that critique was essential for religious belief.
2
Peter J., Katz. "Feeling Bodies: Associationism and the Anti-Metaphorics of Materiality." In Reading Bodies in Victorian Fiction, 27–53. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474476201.003.0002.
Повний текст джерелаАнотація:
This chapter traces an intellectual history of Associationism from Newton to the nineteenth century, with a particular emphasis on these thinkers’ philosophy of language. Associationist linguistics, the chapter argues through Müller, Locke, and Hume, is fundamentally materialist. This linguistics then offers a way to conceptualise interpretive literary hermeneutics as an ethical problem that divorces language from lived experience. To demonstrate this argument, the chapter turns to Casaubon (Middlemarch) and Wendover (Robert Elsmere), to argue that the “disembodied” scholar is a movement against popular readers who use feeling rather than rational interpretation. Associationists Hartley, Stewart, and Bain make these claims more explicitly in their work; for these Associationists, language is best understood through feeling. The idea that fiction is best read through feelings culminates in the literary criticism of David Masson and Charles Dickens through a close reading of Masson’s review of David Copperfield and Dickens’s preface to Oliver Twist.
3
Ney, Alyssa. "Wave Function Realism in a Relativistic Setting." In The Foundation of Reality, 154–68. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198831501.003.0009.
Повний текст джерелаАнотація:
The purpose of the present chapter is to respond to a thread of recent criticism against one candidate framework for interpreting quantum theories, a framework introduced and defended by David Albert and Barry Loewer: wave function realism, a framework for interpreting the ontology of quantum theories according to which what appears to be a nonseparable metaphysics ofentangled objects acting instantaneously across spatial distances is a manifestation of a more fundamental separable and local metaphysics in higher dimensions. Thechapterconsiders strategies for extending the wave function realist interpretation of quantum mechanics to the case of relativistic quantum theories, responding to arguments that this cannot be done.
4
"Breaking the Religious Image." In Breaking Resemblance, edited by Alena Alexandrova. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823274475.003.0003.
Повний текст джерелаАнотація:
The chapter provides an overview of two tendencies in the transformation of the status of religious motifs in art starting with the painting of Caspar David Friedrich and ending with Expressionism. This period was characterised by a major shift in the mutual positioning of art and religion both institutionally and aesthetically. Church art became an increasingly problematic category at the end of the nineteenth and twentieth centuries, partly because the clergy objected to decorating churches with the unusual interpretation of religious iconography associated with modernist aesthetics. Considered from this perspective abstract art appeared as an acceptable alternative precisely as opposed to other images with unusual modernist interpretations. The absence of figurative images removes all controversies as to how religious subjects should be interpreted. Religious iconography had a continued presence within the work of numerous artists in the different movements of the historical avant-gardes. While the figurative references to religious motifs in most of the cases were quite critical in their tone (whether this was intended by the artist or not) and used as tools of criticism of the institutions of art and religion, abstract art became the medium for expression of a positive form of spirituality.