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1
Almelek İşman, Sibel. "Portrait historié: Ladies as goddesses in the 18th century European art." Journal of Human Sciences 14, no. 1 (February 15, 2017): 396. http://dx.doi.org/10.14687/jhs.v14i1.4198.
Анотація:
Portrait historié is a term that describes portrayals of known individuals in different roles such as characters taken from the bible, mythology or literature. These portraits were especially widespread in the 18th century French and English art. In the hierarchy of genres established by the Academy, history painting was at the top and portraiture came next. Artists aspired to elevate the importance of portraits by combining it with history. This article will focus on goddesses selected by history portrait artists. Ladies of the nobility and female members of the royal families have been depicted as goddesses in many paintings. French artists Nicolas de Largillière, Jean Marc Nattier and Louise Élisabeth Vigée Le Brun; English artists George Romney and Sir Joshua Reynolds can be counted among the artists working in this genre. Mythological figures such as Diana, Minerva, Venus, Hebe, Iris, Ariadne, Circe, Medea, Cassandra, Muses, Graces, Nymphs and Bacchantes inspired the artists and their sitters. Ladies were picturised with the attributes of these divine beings.
2
Jenkins, E. R. "English South African children’s literature and the environment." Literator 25, no. 3 (July 31, 2004): 107–24. http://dx.doi.org/10.4102/lit.v25i3.266.
Анотація:
Historical studies of nature conservation and literary criticism of fiction concerned with the natural environment provide some pointers for the study of South African children’s literature in English. This kind of literature, in turn, has a contribution to make to studies of South African social history and literature. There are English-language stories, poems and picture books for children which reflect human interaction with nature in South Africa since early in the nineteenth century: from hunting, through domestication of the wilds, the development of scientific agriculture, and the changing roles of nature reserves, to modern ecological concern for the entire environment. Until late in the twentieth century the literature usually endorsed the assumption held by whites that they had exclusive ownership of the land and wildlife. In recent years English-language children’s writers and translators of indigenous folktales for children have begun to explore traditional beliefs about and practices in conservation.
3
Houppermans, Sjef. "French Literature in the Perspective of Literary Historiography." European Review 21, no. 2 (April 30, 2013): 272–80. http://dx.doi.org/10.1017/s1062798712000427.
Анотація:
Literary History has changed its objectives during the last few decades. In theory as well as in literary analysis strictly demarcated approaches have given way to a worldwide perspective. The openness to the world and the ongoing dialogue with the ‘other’ resonates in recent French Literature. Academic critique can accompany and guide these evolutions. This article focuses on three central concepts:transculturalité,colinguismeandtransmédialité. Special attention will be given to the 18th century French-English author William Beckford and the final word is spoken by Edouard Glissant.
4
Petrov, Alexej, Angelina Dubskikh, and Anna Butova. "Historiosophy & Eros in Russian anacreontics." SHS Web of Conferences 55 (2018): 04016. http://dx.doi.org/10.1051/shsconf/20185504016.
Анотація:
“Love is the eminence grise of history”, – once one of the greats of the past said. Few doubt that history is driven by human, more or less conscious interests – economic, political, religious, etc. As for feelings, passions and instincts, their role in the historical process is not so obvious, particularly of those that are connected with policy or economy indirectly. The objective necessity to rehabilitate the position of Eros in the political life of 18th-century Russia determines the significance of the current research. The article aims to analyse how the feeling of love and/or the underpinning instincts of procreation and self-preservation affect the political life and the course of history. The most important task is to examine some of the poetic texts of the 18th – early 19th centuries, the authors of which are the part of this still non-trivial historiosophical paradigm. So, it is mainly going to be about love, but not always – about love poems. The novelty of the conducted research lies in the fact that mythological and political issues of Anacreonic poetry have already become the matter of literary criticism [1, 2], while the hidden historiosophical senses have been still neglected. Certain creative works of the 18th-century poets: M.V. Lomonosov, G.R. Derzhavin, S.S. Bobrov served as research material. The practical significance of the investigation consists in the fact that the results can be used for further studying of 18th-century literature and historiosophical problems as well as to develop special courses in historical poetry.
5
Agratina, Elena E. "THE EMERGENCE OF ART CRITICISM IN FRANCE IN THE SECOND HALF OF THE 17TH AND THE FIRST HALF OF THE 18TH CENTURY." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 3 (2022): 146–64. http://dx.doi.org/10.28995/2073-6401-2022-3-146-164.
Анотація:
The topic of the emergence of art criticism in France in the second half of the 17th and the first half of the 18th century, being rather widely covered in foreign academic literature, is still underdeveloped in Russian art history. Nevertheless, that issue is extremely important for understanding the processes that took place in the French and more widely in the European artistic milieu. The article aims to highlight the process of the criticism formation not only as a literary genre but primarily as a phenomenon of cultural life. Based on original written sources and foreign academic literature, the author traces how the appearance of fine art in the light of publicity was prepared in the Parisian artistic milieu. The author addresses the important questions that arose during the formative and legitimizing phase of criticism, such as its distinction from pre-existing art theory, as well as the distinction between the critic and the theorist or fine art historian. The artwork must now satisfy not only the master and the customer and a small circle of connoisseurs, society also becomes an active participant in artistic life, and the viewer enshrines the right to judge the art. The author shows how criticism is gradually becoming more diverse and polyphonic. Works written on behalf of a wide variety of characters are appearing, writers are adapting various literary genres that already exist: epistolary, diary, plays, poems, dialogues. For many years, criticism becomes an active channel of communication linking all participants in artistic life.
6
Böhmerová, Adela. "Historical Aspects of Early Contacts of Slovaks with English." ELOPE: English Language Overseas Perspectives and Enquiries 19, no. 2 (December 31, 2022): 63–85. http://dx.doi.org/10.4312/elope.19.2.63-85.
Анотація:
This study is devoted to tracing, presenting and linguo-culturally interpreting some of the aspects of the early history of the contacts of Slovaks with the English language. Although English in Slovakia started to be of interest to several men of letters already in the 18th century, the need for it as means of communication only arose in the US in the second half of the 19th century among Slovak immigrants. The paper focuses above all on Janko Slovenský’s book as the first material assisting Slovaks in the acquisition of English, and analyses its content, educational merit and cultural value. Also surveyed is the history of the first dictionaries contrasting English and Slovak. The final part introduces the beginnings of English studies in Slovakia dating from the early 1920s, and their early development. The study offers insight into an educationally important subject that so far has only marginally received scholarly attention.
7
Brannigan, John, Marcela Santos Brigida, Thayane Verçosa, and Gabriela Ribeiro Nunes. "Thinking in Archipelagic Terms: An Interview with John Brannigan." Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 20, no. 35 (May 13, 2021): 3–28. http://dx.doi.org/10.12957/palimpsesto.2021.59645.
Анотація:
John Brannigan is Professor at the School of English, Drama and Film at University College Dublin. He has research interests in the twentieth-century literatures of Ireland, England, Scotland, and Wales, with a particular focus on the relationships between literature and social and cultural identities. His first book, New Historicism and Cultural Materialism (1998), was a study of the leading historicist methodologies in late twentieth-century literary criticism. He has since published two books on the postwar history of English literature (2002, 2003), leading book-length studies of working-class authors Brendan Behan (2002) and Pat Barker (2005), and the first book to investigate twentieth-century Irish literature and culture using critical race theories, Race in Modern Irish Literature and Culture (2009). His most recent book, Archipelagic Modernism: Literature in the Irish and British Isles, 1890-1970 (2014), explores new ways of understanding the relationship between literature, place and environment in 20th-century Irish and British writing. He was editor of the international peer-reviewed journal, Irish University Review, from 2010 to 2016.
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Mishina, L. A. "THE FAMILY PHENOMENON IN SEVENTEENTH-CENTURY AMERICAN LITERAURE." Bulletin of Udmurt University. Series History and Philology 32, no. 2 (April 29, 2022): 355–62. http://dx.doi.org/10.35634/2412-9534-2022-32-2-355-362.
Анотація:
The purpose of this article is to analyze the phenomenon of the New English family of the 17th century, the first century of the existence of American national literature, presented in the works of early American authors - period insufficiently studied in literary criticism. Untranslated or incompletely translated into Russian works of such religious and public figures, writers as Richard Mather (Diary), Inkris Mather (The Life and Death of the Reverend Richard Mather), Edward Johnson (The Miraculous Providence of the Savior of Zion in New England) , Samuel Sewall (Diary), John Cotton (God’s Promise to His Plantation), Cotton Mather (Life of Mr. Johnatan Burr), are introduced into literary criticism. Being one of the key in the early history and literature of the United States, the theme of the family has the following aspects considered within the framework of the article: the move of families to a new continent, settling in a new place, the status of a father, mother, and child. The process of formation and existence in extreme conditions of a Protestant family is analyzed, the role of the family community in the fulfillment of the sacred mission - the creation of the kingdom of Christ on new lands - is determined. The conclusion is made about the uniqueness of the New English family of the 17th century, which combined the features of both the family structure that developed in European society and those born in the process of American experiments. The idea is emphasized that the disclosure of the family theme by early American authors clearly represents the features of American literature of the 17th century in general. The article uses biographical, structural, cultural and historical methods of literary analysis.
9
Waters, Lindsay. "To Become What One Is." boundary 2 48, no. 1 (February 1, 2021): 251–63. http://dx.doi.org/10.1215/01903659-8821510.
Анотація:
In the twentieth century, criticism flourished in the academy in the English language from the 1930s to the 1960s, but gradually a hyperprofessionalized discourse purporting to be criticism took its place. The problem was exacerbated because people misunderstand literary theory thinking it superior to criticism. Big mistake. Theory proper begins its life as criticism, criticism that has staying power. Central to criticism as Kant argued is judgment. Judgment is based on feeling provoked by the artwork in our encounters with artworks. This essay talks about the author’s encounter with Mary Gaitskill’s novel Veronica. The critical judgment puts the artwork into a milieu. This essay argues the case for the holism of critical judgments versus what the author calls Bitsiness as Usual, the fragmentation of our understanding of our encounters with artworks. The author subjects both Paul de Man and the New Historicists to severe attacks.
10
Matyjaszczyk, Joanna. "Struggles with Dramatic Form in 16th-Century English Biblical Plays." Anglica. An International Journal of English Studies, no. 31/1 (October 2022): 5–27. http://dx.doi.org/10.7311/0860-5734.31.1.01.
Анотація:
The aim of the article is to pinpoint how 16th-century biblical drama tried to appropriate its genre and medium to carry the reformist message and in what sense the project turned out to be a self-defeating one. The analysis of selected plays from reformed biblical cycles (The Chester Mystery Cycle, play iv; and “The Norwich Grocers’ Play”) and newly composed drama (John Bale’s plays, Lewis Wager’s Life and Repentaunce of Marie Magdalene, the anonymous “History of Jacob and Esau”), supported with an over- view of the criticism on the matter, reveals some common tensions in the dramatic texts which may have had their roots in the reformist need to eliminate any room for doubt that a theatrical performance could leave. The conclusion is that, in its attempts at striking the right balance between dramatizing and overt sermonizing, engaging and distancing, as well as providing an immersive experience and discouraging it, post-Reformation Scrip- ture-based drama oscillated between being more effective as a performance or as a carrier of the doctrinal message, with the resulting tendency to subvert either the former or the latter.
11
Sokolov, Alexander I., and Irina A. Malysheva. "Turkisms in one of the early Russian translations of the 18th century." Vestnik of Saint Petersburg University. Language and Literature 18, no. 1 (2021): 187–201. http://dx.doi.org/10.21638/spbu09.2021.110.
Анотація:
The article considers Turkic borrowings in the Russian language at the beginning of the 18th century. The material of the study was a translation of the 17th century treatise “The History of the Present State of the Ottoman Empire” written by the English diplomat Paul Ricaut and translated into a number of European languages. The Russian translation was done by P.A.Tolstoy from the Italian version in 1702–1714 and published as “The Turkish Monarchy” in 1741. The study presents the methods of phonetic (orthographic) and morphological adaptation of Turkisms by comparing a typographical manuscript for typesetting with edits (made in 1725) and the printed text. The article aims at comparing the usage of borrowings with their forms in the Italian version of the treatise and in the Polish translation since the latter, apparently, was used in the process of typographical editing of the Russian text. A number ofdistorted forms of Turkisms that appeared in the Russian “Monarchy” as a result of the mechanical transfer of typos from the Italian translation were revealed. It has been established that the translation of compound nouns identified in the Turkic languages as izafet constructions was mainly a copying of their forms from the Italian translation. Most of the Turkisms in “The Turkish Monarchy” are exoticisms, but likely relevant for the Russian reader of the 18th century. Hence, the principles of including exoticisms in the “Dictionary of the Russian Language of the 18th Century” require clarification because a number of Turkisms denoting confessional concepts in modern Russian are part of active vocabulary.
12
Broadhead, Alex. "Framing dialect in the 1800 Lyrical Ballads: Wordsworth, regionalisms and footnotes." Language and Literature: International Journal of Stylistics 19, no. 3 (August 2010): 249–63. http://dx.doi.org/10.1177/0963947010370187.
Анотація:
This article addresses one of the most theoretically and linguistically vexing issues in the history of English poetic language: stylistic variation in Wordsworth and Coleridge’s Lyrical Ballads. It suggests that two footnotes, added to the 1800 edition, offer a new perspective on a question which has prompted debate since its publication: specifically, what is the relationship between Wordsworth’s use of dialect and the language of ‘low and rustic life’ promised by the 1800 Preface to Lyrical Ballads? In sections 1 and 2 the article expands on the importance of the footnotes in relation to the discussion surrounding Wordsworth’s language. Section 3 examines the departure of Lyrical Ballads from 18th-century conventions regarding the glossing of non-standard language in poetry, while section 4 explores the function of the unfootnoted and unframed regionalisms that can be found throughout the collection. Sections 5 and 6 discuss the content of the two footnotes in relation to Wordsworth’s blurring of the roles of poet and glosser, and suggest that this conflation of roles is connected to Wordsworth’s implicit blurring of Standard English and dialect in his definition of ‘low and rustic life’ (a definition explored in greater detail in section 7). The conclusion suggests that the lack of specificity in Wordsworth’s Preface and his approach to framing dialect were part of a single strategy to integrate Standard English and dialect in a more organic manner than was typical of 18th-century writing.
13
Barendse, R. J. "Shipbuilding in Seventeenth-Century Western India." Itinerario 19, no. 3 (November 1995): 175–95. http://dx.doi.org/10.1017/s0165115300021392.
Анотація:
The history of Indian shipbuilding is a relatively well-studied topic. There are two strands of literature on Indian shipping. First there is the Indian: R.N. Mukherjee (1923) is, in spite of some minor criticism which could be levelled at it, still the basic work on the topic. Among the more recent contributions should be mentioned those of L. Gopal and J. Qaisar. The second strand is Portuguese. Much of the Portuguese work on ‘Portuguese’ shipbuilding in the sixteenth century deals with shipbuilding in Goa. Now, was this ‘Portuguese’ shipbuilding or ‘Indian’ shipbuilding? ‘European’ and ‘Indian’ technology were so closely interlinked on the west coast of India that it is impossible to make a clear distinction. The seminal contributions on this topic are the already very well-established works of Commodore Quirinho da Fonsequa and of Frazāo de Vasconselhos. Their articles, which have appeared in several Portuguese journals, very much deserve an English translation. More recently the important work by A. Marques Esparteiro on the ships used in the carreira da Índia has appeared.
14
Stuchlik-Surowiak, Beata. "Fighting Pestilence in Old Poland as Presented in the 18th Century Żywiec Chronicle." Rocznik Filozoficzny Ignatianum 25, no. 1 (July 30, 2021): 37–54. http://dx.doi.org/10.35765/rfi.2019.2501.4.
Анотація:
The article presents the problem of dealing with the pestilence (pol. morowe powietrze, “pestilent air”) on the territory of the old Republic of Poland, with particular focus on the Żywiec County in the 16th to 8th century. The paper attempts to answer the questions of how the medics of that time dealt with epidemics, what actions were taken by ordinary people for whom the raging plague was often the result of the interference of demonic forces, and finally, what preventive measures against the plague were proposed to the faithful by the Church.
The source for the considerations is the Chronografia albo Dziejopis żywiecki [Chronography or the Żywiec Chronicle], the account of history of the town of Żywiec and the surrounding area covering the years 1400–1728, written by the mayor, Andrzej Komoniecki (1659–1729). The Chronicle brings back an extraordinarily colorful picture of old customs, beliefs and superstitions, as well as paramedical practices, which to our contemporary cultural sensitivity may appear bizarre, gruesome and terrifying.
In preparing the article, the author also used extensive literature, primarily in the history of medicine.Among the research methods used in the study, it is worth mentioning, first of all: the explicative method, the method of document research, the method of analysis and criticism of sources, the method of cultural analysis and the method of stylistic-rhetorical analysis.
In contemporary socio-cultural reality, the reading of the Chronografia takes on new meanings. In the context of the pandemic that struck the world in the 21st century, the extremely accurate accounts of the Żywiec chronicler seem particularly interesting, as they allow us to compare the attitude of our old Polish ancestors and ourselves in the face of a similar threat. This comparative leads us to believe that some of the measures taken to prevent the spread of infections, such as keeping a distance, limiting the number of participants at funerals, or not letting strangers into towns, are still taken today, while others, such as locking the sick up in huts, setting fire to infected houses, burying plague victims under fences, drowning them in rivers, or desecrating the bodies of the dead suspected of having caused the plague, are now happily forgotten.
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Martínez-González, José L., Gabriel Jover-Avellà, and Enric Tello. "Building an annual series of English wheat production in an intriguing era (1645-1761): methodology, challenges and results." Historia Agraria Revista de agricultura e historia rural, no. 79 (June 7, 2019): 41–69. http://dx.doi.org/10.26882/histagrar.079e01m.
Анотація:
This article presents a method for estimating an annual series of English wheat production in physical units during the intriguing period of 1645-1761, when the English Agricultural Revolution began. It is based on Davenant’s Law and the assumption of a decrease in long-term crop variability, taking into account the yields obtained from probate inventories and farm accounts. The exercise confirms the idea that the King-Davenant accounting of the inverse variation of prices and quantities through price elasticity was indeed a common rule at that time, whereas income elasticity did not become a decisive factor until the mid-18th century. From then on it gained momentum, as can be observed by lengthening the series until 1884. The new series of English wheat production presented here also shows that, from a physical and environmental perspective, the Agricultural Revolution began before 1750 and resumed after 1800. The results are consistent with recent estimates of agricultural GDP put forward in the literature on English economic history.
16
Králová, Magda. "When Óðinn meets Pompey : Norse and classical elements in English literature at the turn of the 18th and 19th century." Graeco-Latina Brunensia, no. 2 (2019): 125–41. http://dx.doi.org/10.5817/glb2019-2-9.
17
Suh, Serk-Bae. "The Location of “Korean” Culture: Ch'oe Chaesŏ and Korean Literature in a Time of Transition." Journal of Asian Studies 70, no. 1 (February 2011): 53–75. http://dx.doi.org/10.1017/s0021911810003001.
Анотація:
This essay focuses on Ch'oe Chaesŏ, a leading Korean intellectual, active translator of English literary criticism, and editor in chief of Kokumin Bungaku (National Literature), a prominent Japanese-language journal published in colonial Korea. Ch'oe asserted that the unfolding of history in the twentieth century demanded a paradigmatic transition from liberalism to state-centered nationalism in culture. He also privileged everyday life as allowing people to live as members of communities that ultimately are integrated into the state. By positioning Koreans firmly as subjects of the Japanese state, his argument implied that the colonized should be treated on a par with the colonizers. Further, Ch'oe advocated Koreans' cultural autonomy as an ethnic group within the Japanese empire. Tracing Ch'oe's early life and examining his critical essays on nation, culture, and state, the author discusses how his endeavors to establish an autonomous space for Korean culture simultaneously legitimized Japanese colonial control.
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Mikhailova, Maria, and Sofya Kudritskaya. "Mire’s Interpretation of the Tragic and Paradoxical World of Oscar Wilde." Literatūra 63, no. 2 (November 22, 2021): 70–87. http://dx.doi.org/10.15388/litera.2021.63.2.5.
Анотація:
This article analyzes the reception of the figure of O. Wilde, the 19th-century English writer, and his works in the prose and criticism of Alexandra Mikhailovna Moiseeva (1874-1913), who entered the history of Russian literature of the Silver Age by the name of “Mire”. The study focuses mainly on her story Black Panther (1909), in which the author provides an original perspective on the tragic love episode in Wilde’s life. Attention is also paid to the thematic similarities between the works of Wilde and Mire in terms of genre, plot and literary image, as well as Mire’s interpretation of Wilde’s works in her critical reviews.
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Polilova, Vera S. "The Poetics of the Carnation: The Word and the Image in Russian Poetry From Trediakovsky to Brodsky (In the Context of European Tradition). Part One." Imagologiya i komparativistika, no. 17 (2022): 7–36. http://dx.doi.org/10.17223/24099554/17/1.
Анотація:
The research outlines the use of the word gvozdika (Eng. ‘carnation’, a species of Dianthus) in Russian poetry. The author takes the European tradition as a framework to describe and analyse diverse representations of the carnation in Russian, mainly poetic, texts of the 18th through 20th centuries, tracing the development and expansion of “carnation-driven” contexts and associations. Part One opens with a retrospective insight into the history of the carnation in European culture, debunking several popular misconceptions, related to the flower’s history and name, which had been uncritically repeated over many decades. The ubiquity of wild carnations has contributed to the belief that, like the rose and the lily, the carnation has a two-thousand-year cultural history. Thus, it might be assumed that the carnation’s beauty and spicy aroma should have set it apart from other flowers, so that it might gradually acquire various symbolic meanings. Indeed, researchers and writers have often noted the ancient symbolism of the carnation. Moreover, both popular and academic writings place the carnation in the limited and well-defined set of plants cultivated in Antiquity. The research into the historical significance of the carnation shows that its oft-postulated antiquity is nothing but wishful thinking: the cultural history of the carnation as well as its symbolic meanings cannot be traced back as a single process from Antiquity to the Present. Until the 14th century, the carnation was referred to by many different names; its literary and symbolic genealogy can only be traced back to the 15 th or 16th century, i.e. when it was introduced into horticulture and when stable designations for it appeared in the new European languages. Our analysis draws on comparative material from Spanish, Italian, French, German, and English poetry (poems by Luis de Gongora y Argote, Francisco de Quevedo, Joachim du Bellay, Remy Belleau, Pierre de Ronsard, and others) and employs numerous multilingual sources to shed light on the history of the carnation in European languages and literatures. In addition, we briefly trace the horticultural history of the carnation in Russia. The garden carnation, or the clove pink, has been known in Russia at least since the 17th century. It was among the plants bought in Holland by the Flower Office of Peter the Great. In the 18th century, the carnation was already widespread in Russian gardens: numerous detailed articles about the carnation, its varieties and cultivations are found in botanical directories and various indexes of the late 18th century. The Alphabetical Catalogue of Plants <...> in Moscow in the Garden of the Active State Councillor Prokofy Demidov, published in 1786, lists 52 varieties of the carnation. Yet, however popular the carnation was in everyday life, it rarely appeared in Russian literature of the 17th and 18th centuries.
20
Panov, Alexei A., and Ivan V. Rosanoff. "Performing Ornaments in English Harpsichord Music. Part II." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 4–32. http://dx.doi.org/10.21638/spbu15.2022.101.
Анотація:
This article continues a series of publications on problems pertaining to performing ornaments on keyboard musical instruments in England of the 17th–18th centuries according to historical documents of that time. The authors consider the history of the publication of the ornamentation table with thirteen embellishments compiled by Charles Coleman and published in the treatises The Division-Violist by Christopher Simpson (1659) and A Brief Introduction to the Skill of Musick by John Playford (1660). Among other matters, various aspects in the Rules of Graces worded by Henry Purcell (A Choice Collection of Lessons for the Harpsichord or Spinnet, 1696) are discussed. In particular, in the table published by Simpson, special attention is paid to a comprehensive review of the realization of such ornaments as “[The] Backfall shaked” and “[The] Shaked Beat”. In “Rules of Graces” contained in Purcell’s A Choice Collection, the authors turned to the ornaments called “[The] beat” and “a plain note & shake”, as well as to the following well-known instruction formulated by the famous musician: “observe that you allway’s shake from the note above and beat from ye note or half note below, according to the key you play in <…>”. In the course of the research, numerous errors and inaccuracies were discovered and noted in the scientific and reference-encyclopedic literature of the 20th century concerning the interpretation of ornaments in England in the second half of the 17th century and in the content of English musical treatises of that time.
21
Таунзенд, Ксения Игоревна. "REMEMBER THE TRANSLATIONS BY A MECHANIC FROM TVER." Вестник Тверского государственного университета. Серия: Филология, no. 2(73) (June 14, 2022): 198–205. http://dx.doi.org/10.26456/vtfilol/2022.2.198.
Анотація:
Выдающийся русский механик XVIII в. Л.Ф. Сабакин оставил после себя не только множество изобретений, но и перевод с английского лекций Дж. Фергюсона по физике, по которым он сам получил теоретические знания во время стажировки в Англии. Сопоставительный анализ этого перевода с оригиналом обнаруживает тесную связь собственно переводческих решений с этапами профессиональной деятельности самого переводчика. L.F. Sabakin, a prominent Russian mechanic of the 18th century, is remembered not only for the numerous machines and for mechanisms invented by him, but also for his translations from English of J. Ferguson’s lectures on physics, which were L.F. Sabakin’s source of theoretical knowledge during his educational trip to Britain. The comparative analysis of the source and the target texts has revealed close ties between his translation techniques and the stages of the translator’s professional activity.
22
Seferbekov, Magomedkhabib R. "JOHN BELL ON THE CAMPAIGN OF PETER I TO DERBENT." History, Archeology and Ethnography of the Caucasus 18, no. 4 (December 25, 2022): 919–31. http://dx.doi.org/10.32653/ch184919-931.
Анотація:
A number of publications have been devoted to the Persian campaign of Peter the Great and the stay of the Russian Imperial troops on the southwestern shores of the Caspian Sea in 1722–1735 – monographs, articles, dissertations, collections of documents and materials prepared with the use of a wide range of sources and literature. This topic continues to attract the attention of historians even today. It has acquired particular relevance in connection with the 350th anniversary of the birth of the first Russian Emperor Peter the Great and the 300th anniversary of the Persian campaign. A large number of documentary sources from the collections of the federal and regional archives of Russia cover the history of the Persian campaign and its results, which made it possible to reveal new episodes of imperial policy in the Caucasian-Caspian region in the first quarter of the 18th century. Among the most valuable sources on the history of the Persian campaign are the travel notes of the English-speaking authors – the direct participants and eyewitnesses of the events described. One of these sources is the John Bell’s book “Travels from St. Petersburg, across Russia, to different parts of Asia”, particularly, the section titled “Journey from Moscow to Derbent in Persia, in 1722”, translated by the author of the paper into Russian with commentaries. This translation may be a valuable contribution to both the ethnography and historiography of the Russian Caucasian studies of the first quarter of the 18th century.
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Kirillova, Natalia B. "Metamorphoses of Russian Mass Culture." Observatory of Culture 16, no. 5 (December 4, 2019): 536–41. http://dx.doi.org/10.25281/2072-3156-2019-16-5-536-541.
Анотація:
The article is a review of the monograph “Russian Mass Culture: From Baroque to Post-Modernism” by Doctor of Philosophy, Professor of the Russian State University for the Humanities, Academician of the Russian Academy of Natural Sciences I.V. Kondakov. The book, which consists of seven chapters, is devoted to the history of the emergence and development of mass culture in Russia from ancient times to the beginning of the 20th century. Studying its origins dating back to antiquity, the author proves that Russian mass culture received an “impulse of independence” in the 17th century, as the culture was becoming personified, which means a personal principle was coming forward in it. It was during that period, associated with the emergence of Russian Baroque, that two paradigms appeared — Pre-Renaissance and Pre-Enlightenment, which led to the subsequent juxtaposition of “mass” and “elite” cultures in Russia first before Peter the Great and then after his period. The author gives an interesting assessment to the period of the Russian Enlightenment of the 18th century, when there happened a demarcation of the noble culture into liberal-democratic and conservative directions. Moreover, the former contributes to “massification”, and the latter – to “individualization” of Russian culture. The crisis of the classical paradigm in the 19th century, including the “literature-centrism” and “critical-centrism” of Russian culture, ultimately led to the formation of new artistic movements, new genres and styles, that is, to the modernization of Russian culture at the turn of the 19th—20th centuries. In this regard, the Silver Age turned out to be an “exquisite and ephemeral construction of the Russian Renaissance” in paradoxical forms of symbolism and modernism.The review reflected the structural and substantive aspects of I.V. Kondakov’s monograph, the features of his theoretical analysis, the specifics of style and language. The article evaluates the publication, reveals its uniqueness and scientific significance for modern humanitarian science, including history and cultural studies, literary criticism and philosophy, art criticism and aesthetics.
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Ettobi, Mustapha. "Literary Translation and (or as?) Conflict between the Arab World and the West." TranscUlturAl: A Journal of Translation and Cultural Studies 1, no. 1 (August 18, 2008): 14. http://dx.doi.org/10.21992/t99d06.
Анотація:
Major developments in the translation of literary works from Arabic into French and English and vice versa tend to indicate that it has been influenced by the geopolitical relationship between the Arab world and Western countries. In my paper I try to show how the essence of this translation history has taken root in the power differentials and conflicts between these two entities by analyzing three different phases of translation, namely:
- Napoleon Bonaparte’s Expedition to Egypt in the 18th century and the translation movement that followed in the 19th century.
- Post-Second-World-War phase including the intense translation activity during the Nasser era.
- From 1988 (when Mahfouz was awarded the Nobel Prize) to the post-9/11 era.
I will also explain how translators (like Canadian-born Johnson-Davies) played a key role in these times of war and/or peace. The work of some of them can also be considered as a form of resistance against prevailing (often negative) representations of the Other and its culture. The article ends with reflections on the current (and future) situation of the translation of Arabic literature into English and French.
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Tkachuk, Olena. "MULTICULTURALISM BY CONRAD-EMIGRANT." Polish Studies of Kyiv, no. 35 (2019): 376–80. http://dx.doi.org/10.17721/psk.2019.35.376-380.
Анотація:
The article is devoted to the problem of the multiculturalism by Joseph Conrad, the English writer and the world classic of the 20th century, who, due to the preservation of his Polish national-cultural identity, and by estrangement from this identity in his artistic consciousness, was able to influence the intellectual and artistic atmosphere in England of his times. In this way, the Polish identity became a background for Conrad’s artistic creativity, and at the same time, universal values and criteria were the key to the successful acculturation in English society in its one of the most effective strategies – the integration strategy. In this case Conrad acquired another national-cultural identity, English, – while retaining his native, Polish. Undoubtedly, one of the most important issues touched by almost all researchers is his arrival in English literature, a Pole in origin, who only arrived in England in the twenty-first year, actually emigrating, and for a very short time becaming a venerable writer. It should be noted that, taking into account the peculiarities of English mentality, the task was rather uneasy. All this undoubtedly led to the development of a variety of approaches to understanding the creative personality and rich heritage of Joseph Conrad. Foreign literary and critical academic circles, which introduced the concept of «new English literature» (meaning the post-colonial period), do not take into account such figures of the English literary process as Joseph Conrad, whose work falls out of its chronological framework, and indicates that multicultural literature appeared on the approaches to the twentieth century. However, only nowadays it was possible that such an approach was based on the principles of multiculturalism, that is, the phenomenon justified in the 90s of the XX century, although, as the majority of scholars testify, it existed for a long time in cultural studies, literary criticism, art history and philosophy. We have chosen this approach. The research is devoted to the study of the problems of national-cultural identity by Joseph Conrad, as well as the mechanism of his acculturation in the conditions of emigration.
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Burney, Fatima. "Strategies of Sound and Stringing in Ebenezer Pocock's West–East Verse." Comparative Critical Studies 17, no. 2 (June 2020): 319–36. http://dx.doi.org/10.3366/ccs.2020.0365.
Анотація:
In an effort to capture how Orientalist translations, imitations and criticism of Asian poetry came to inform the idealization of lyric as a universal genre, this paper focuses on the practice of poetic metre in the nineteenth century. How did Victorian conceptions of recitational communities, bounded by shared ‘national’ metres, square against the wealth of translated works that were a major component of Victorian print culture? The amateur Orientalist Ebenezer Pocock explained various metres and musical practices associated with ‘Persian lyrics’ in his book Flowers of the East (1833) and offered equivalent metres in English before replicating these shared English/Persian metres in his own imitative poem ‘The Khanjgaruh: A Fragment’. This article sketches how Pocock's casting of this hybrid material in metres that would already have been recognizable to his English readers seems to have the intended effect of both orienting his work towards his domestic audience and grounding such a flexible approach within the Persian tradition itself. Pocock's poem sits amongst a range of accompanying materials including translations of Sa‘dī and scholarly essays on comparative philology and Persian literary history. Each of these different pieces supports the collection's greater effort – best encapsulated by ‘The Khanjgaruh’ – to both remember and imagine the shared poetic history between Asia and Europe. Pocock's writing thus emblemizes how the nineteenth-century ‘West–East lyric’ was a product of both historical and philological recovering as well as the willed creation of poets and poetry enthusiasts. As a category, lyric performs a binding function in Pocock's work to pull together a linguistically and professionally diverse community of writers.
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ROLLS, ALISTAIR. "Primates in Paris and Edgar Allan Poe’s Paradoxical Commitment to Foreign Languages." Australian Journal of French Studies 58, no. 1 (April 1, 2021): 76–87. http://dx.doi.org/10.3828/ajfs.2021.07.
Анотація:
Drawing on recent innovations in detective criticism in France, this article broadens the quest to exonerate Poe’s famous orang-utan and argues that the Urtext of modern Anglo-American crime fiction is simultaneously a rejection of linguistic dominance (of English in this case) and an apologia for modern languages. This promotion of linguistic diversity goes hand in hand with the wilful non-self-coincidence of Poe’s detection narrative, which recalls, and pre-empts, the who’s-strangling-whom? paradox of deconstructionist criticism. Although “The Murders in the Rue Morgue” is prescient, founding modern crime fiction for future generations, it is entwined with a nineteenth-century tradition of sculpture that not only poses men fighting with animals but also inverts classical scenarios, thereby questioning the binary of savagery versus civilization and investing animals with the strength to kill humans while also positing them as the victims of human violence.
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Agratina, Elena E. "Jean-Honoré Fragonard: The New in the Notions of “Sketchiness” and “Completeness”." Observatory of Culture 18, no. 2 (May 31, 2021): 174–85. http://dx.doi.org/10.25281/2072-3156-2021-18-2-174-185.
Анотація:
The second half of the 18th century was a time of active changes in the perception of art, rethinking many concepts and phenomena. One of them was the pictorial sketch, which transformed from a preparatory stadium work into an independent, complete piece of art. Many art theorists and critics, as well as painters themselves had contributed to this rethinking. Many young artists, bored of historical painting and indifferent to all the academic principles, were searching for new media of expressiveness, using the sketch-like pictorial manner to give their works a new dynamism and an impression of “easy production”. The article is dedicated to J.-H. Fragonard (1732—1806), an artist in whose works the “sketchiness” became a conscious artistic method used in small-format pieces, in large-scale canvases, and even in panels. The use of such a technique in grand scale works is considered to be an extreme unconventionality, which, however, was not appreciated by Fragonard’s contemporaries and even by scholars of the next two centuries. Fragonard’s series of ‘Fantasy Portraits’ attracted enough investigators’ attention, but his series ‘Progress of Love’ has only recently begun to be recognized by researchers as an unusual and bold for that time artistic experience. Based on the analysis of the artist’s selected works, the author builds her original research, designed to highlight Fragonard’s special role in the evolution of art on the way from the Modern Period to Contemporary History. The relevance of the present article is caused by too little examination of this topic: minimal in Russia and relatively small in France. Besides consultation with research literature, this required the author to constantly directly refer to the 18th-century sources, such as treatises by art connoisseurs and scholars, art criticism, and catalogues of exhibitions arranged by the Royal Academy of Painting and Sculpture or the Académie de Saint-Luc.
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Roberts, David. "Ravishing Strides: Signs of the Peripatetic in Early Modern Performance." New Theatre Quarterly 17, no. 1 (February 2001): 18–30. http://dx.doi.org/10.1017/s0266464x00014299.
Анотація:
Actors' feet are accepted as part of their expressive equipment – but doubts are often expressed that this has always been so. The evidence of early English theatre history is adduced to suggest otherwise, while recent treatments of the peripatetic in literary studies argue that the ‘visible walk’ attains prominence only in the Romantic period. But David Roberts argues that, from the emergence of permanent theatres, walking offered a metonymy for performance which persisted throughout the seventeenth century. Cross-dressing highlighted the expressive potential of the feet, while close examination of play-texts implies evolving styles of the peripatetic in performance, and the scenic theatres of the Restoration frequently portrayed walking as a cultural activity bound up with the status of both actors and scenery in post-revolutionary London. David Roberts teaches English and Drama at University College Worcester, and has published widely on theatre and literature from 1550 to 1789. He leads an AHRB-funded project on theatre criticism.
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Abdurakhmanova-Pavlova, Daria V. "John Woolman’s image in the English non-fiction in the 1850–1940s: Hagiographical motives." Izvestiya of Saratov University. Philology. Journalism 22, no. 2 (May 23, 2022): 177–85. http://dx.doi.org/10.18500/1817-7115-2022-22-2-177-185.
Анотація:
John Woolman, an 18th century Quaker preacher, is known in the history of American literature for his spiritual autobiography titled The Journal (1774). The 1850–1940s is a period when Woolman’s autobiographical character attracts the attention of British and American critics and essay writers. They publish a significant number of non-fiction texts, which contain numerous elements of hagiography in Woolman’s portraiture, depicting him as a saintly proto-abolitionist figure. According to recent studies, the pioneering role in Woolman’s literary “sanctification” belonged to the 19th century American poet John Greenleaf Whittier, and it was his essays about Woolman that established the “hagiographical” tradition. The paper suggests, however, that the poet followed the tradition which had started earlier. The following “hagiographical” elements may be distinguished in the analyzed non-fiction texts: 1) (semi-) anonymity of several texts; 2) frequent use of the adjective “saint” in reference to Woolman; 3) overestimation of Woolman’s historical significance as “the first abolitionist”; comparisons with famous saints; 4) the motif of being born in “a pious family” and “eulogizing on the birthplace of the saint”; 5) historically inaccurate portrayal of Woolman as a poor and semiliterate person; 6) emphasizing such psychological traits as childlikeness and absolute truthfulness. The conclusion is that Woolman’s sanctification was promoted by the historical situation in the USA of the 1850–1940s as well as by The Journal itself and a certain “flexibility” inherent in Woolman’s autobiographical text.
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BERNSTEIN, LAWRENCE F. "““Singende Seele”” or ““unsingbar””? Forkel, Ambros, and the Forces behind the Ockeghem Reception during the Late 18th and 19th Centuries." Journal of Musicology 23, no. 1 (January 1, 2006): 3–61. http://dx.doi.org/10.1525/jm.2006.23.1.3.
Анотація:
ABSTRACT In 1868, Wilhelm Ambros lauded a number of compositions by Johannes Ockeghem, including the triple canon Prenez sur moy. Emphasizing the expressive qualities of this music, he suggested that its composer had breathed into it a ““singing soul.”” Some decades earlier, Johann Forkel also focused on Prenez sur moy, dismissing it, however, as ““unsingable.”” The present study examines the cultural and intellectual forces that gave rise to these strikingly contradictory assessments. Enlightenment historians are generally thought to have charted the flow of history according to a progressive paradigm. Late medieval music often fared poorly viewed from this perspective, drawing criticism for its failure to reflect the refinements of modern music. Initially, Forkel toed this line, but his comments about examples of 15th-century music in the Allgemeine Geschichte der Musik also reveal his capacity to strike a relativist pose regarding some of them, and even to offer unqualified praise. The changes in Forkel's position are traced to philosophical writings known to have been part of his library, and to his conviction that the music of Johann Sebastian Bach was superior to that of his own time. Taking that stand surely must have raised questions in his mind about his earlier commitment to the progressive view of history. Forkel's openness to new historiographical approaches suggests that he, of all Enlightenment writers on music, might have found value in Ockeghem's music, all the more so because he was better informed about Ockeghem's preeminent stature in his own day than anyone else at the time, and owing to his awareness of a current German tradition that regarded Ockeghem as ““the Bach of his day.”” Yet Forkel's deprecation of Ockeghem's music is among the strongest in the literature. His negative stand can be traced to his admiration for a 16th-century tract on teaching music, the Compendium musices by Adrian Petit Coclico, who demonizes Ockeghem as an icon of the scholastic approach to music. Forkel's own commitment to a humanistic orientation in music pedagogy surely led him to view Coclico as a kindred spirit.
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ΡΑΠΤΗΣ, ΚΩΣΤΑΣ. "ΑΣΤΙΚΕΣ ΤΑΞΕΙΣ ΚΑΙ ΑΣΤΙΚΟΤΗΤΑ ΣΤΗΝ ΕΥΡΩΠΗ, 1789-1914: ΠΡΟΣΑΝΑΤΟΛΙΣΜΟΙ ΤΗΣ ΣΥΓΧΡΟΝΗΣ ΙΣΤΟΡΙΟΓΡΑΦΙΑΣ". Μνήμων 20 (1 січня 1998): 211. http://dx.doi.org/10.12681/mnimon.675.
Анотація:
<p>Kostas Raptis, Middle classes and middle class culture in Europe, 1789-1914: approaches in modern historiography</p><p>The history of the european middle classes from the late 18th to theearly 20th century is a very wide topic and relates to economic, social,political, gender and culture history. This essay gives a brief overviewof the main subjects regarding it. It draws mainly on (pioneer) germanspeaking,but also on english and french literature. Following the currentdebate, it points to the different social and economic groups making upthe so called ((Bürgertum», to their common characteristics, as well astheir specific culture, the ((Bürgerlichkeit)).More specifically this paper is concerned with the followin subjects:— the composition of the «Bürgertum» and the features of its maingroups (professionals, bourgeois of money and bourgeois of knowledge)— the relevant terminology in german, french and english language— the comparison between upper middle class and nobility— the social position and role of the lowermiddle classes— the relation of the bourgeoisie to liberalism and nationalism— the study of the history of the middle classes in the specific contextof a town or a city (as an urban phenomenon)— the position and role of middle class women in a bourgeois society— the middle class family— the bourgeois way of life and culture in general</p>
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Kiyasov, Sergej. "At the Origins of the Masonic Phenomenon: Freemasons in the English State of 15th — 17th Centuries." ISTORIYA 13, no. 1 (111) (2022): 0. http://dx.doi.org/10.18254/s207987840018878-4.
Анотація:
The author considers the crisis events of medieval craft structures in England. The focus of his attention is the modernization of guilds and liveried companies of masons-builders. The analysis was carried out using special sources and scientific literature. This allowed us to draw a number of important conclusions. It is noted that the crisis processes observed in the economy of England of the 15—17th Centuries had a decisive influence on the evolution of the guild institution. These structures, in particular, construction guilds received the status of liveried companies. Subsequently, the craft Masonry of England was transformed into an enlightenment community. The study showed that his ideology provided for the allegorical use of building craft symbols. In particular, members of the Royal Society in London are named the project’s inspirers. Its main goal is the “construction” of a new society, religion and the formation of a new man. The author also emphasizes that the phenomenon of new Masonry should not be associated with the activities of a secret organization. In his opinion, the initial stage in the history of the Masonry in England should be associated with the influence of the Freemasonry of Scotland. However, at the beginning of the 18th Century, the intellectual elite of England managed to seize the initiative. The intellectual elite was the first to establish the work of the transnational structures of the new Masonic movement.
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Levine, Robert S. "“That Grim Sphinx”: Literary Historicism and Tourgée’s Toinette Novels." American Literary History 34, no. 1 (February 1, 2022): 224–36. http://dx.doi.org/10.1093/alh/ajab087.
Анотація:
Abstract [W]e need to continue the key conversation in the field about how to revitalize literary historicism. Matthew Arnold and Tourgée can help to contribute to this conversation. This essay puts the Reconstruction novelist Albion Tourgée in dialogue with the English critic Matthew Arnold in an effort to revitalize the role of literary historicism in American literary studies today. Specifically, it offers a case study of Tourgée’s three Toinette novels (1874, 1879, 1881), all relatively neglected, to make the case for the importance of continuing to study nineteenth-century American literature at least in part in a national frame, but one that takes account of the complexities of temporality. One of the functions of American literary criticism at the present time should be the continued recuperation of lost or neglected voices like Tourgée’s. A more pronounced attention to literary historicism, as the writings of both Tourgée and Arnold suggest, does not mean having to reproduce the exceptionalism and blindnesses of the past or present, especially if critics reject a rigid historical contextualism.
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Panina, Nina L. "Illustrations in Children’s Educational Books in Russia in the Late 17th – Early 19th Centuries." Tekst. Kniga. Knigoizdanie, no. 23 (2020): 82–99. http://dx.doi.org/10.17223/23062061/23/5.
Анотація:
The aim of this article is to analyse the transition period in the history of illustrating children’s educational books on the material of Russian-language publications. It is the period in which the function of an intermedial representation gradually develops from emblematic to encyclopedic and narrative-figurative images. This process is related to the literary history of children’s books and their genre transformations. In the last third of the 18th century, children’s literature in Russia was formed as an independent direction with its special goals, and the basis for further search for specific methods of children’s book design, including educational ones, was laid. In the first quarter of the 19th century, the children’s book had a typical European visual design and continued the trends inherited from the 18th century: translations, borrowings, and revised texts in publications often copied illustrations rather than made new ones. A new stage came at the end of the 1820s, when Russia was actively developing independent children’s literature, and professional authors and criticism appeared. It was the time of the pedagogical experiments of Vasily Zhukovsky. This article does not claim to analyse Zhukovsky’s pedagogical activity comprehensively, but this activity is significant for the subject-matter of the study. In his pedagogy, Zhukovsky went to a new level when searching for intermedial ways of transmission of the universal coherence of phenomena, the systemic representation of knowledge about the world, and the ideas of the world as a system. The search, though much slower, was also observed in contemporary children’s books. The integration of cognitive and didactic functions in the Russian-language children’s book of the 18th century resulted in a mix of different principles of illustration in one publication. These principles are: (1) emblematic: the title, image, and text form a three-part structure; (2) encyclopedic: the sheet contains separate numbered images of the same type of objects excluded from the visual context; (3) narrative: the plot, expressive and figurative, including caricature, illustrations are readily used in an educational book due to their persuasiveness. Each of these principles has its own ways of displaying coherence. An encyclopedic illustration shows an object in a series of similar ones, in an enumeration, shows the structure of the object. An emblem gives its symbolic and allegorical interpretation. A narrative illustration shows its functions and its involvement in causal relations, depicting the environment of events and objects. The children’s book of the studied period tends to integrate all these ways. While the emblem as an independent intermedial genre degrades, certain elements of the emblematic tradition are actively borrowed by new forms of publications. The emblem gives the European book of modern times the most important intermedial tools for displaying universal coherence, the world as a system. The change of the epochs leads to an inevitable blurring of the meaning of the emblematic sign. The transitive nature of the analysed period is expressed in the search for a new intermedial form of coherence, similar to the lost emblematic bimediality of the text and illustration in terms of effectiveness. In the search for such a form, encyclopedic publications that claimed to be all-encompassing use the emblematic and narrative principles of illustration. In turn, the narrative illustration, driven by a similar desire for inclusiveness, consistency, and universality, absorbs the emblematic and encyclopedic principles.
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Sutulova, Nataliia. "Piano sound phenomenon in English-language scientific discourse." Aspects of Historical Musicology 27, no. 27 (December 27, 2022): 24–39. http://dx.doi.org/10.34064/khnum2-27.02.
Анотація:
Statement of the problem. The process of achieving an aesthetically appealing and artistically true piano sound has long been a subject of research for musicians. In recent decades, domestic performance practice has relied on this issue mostly on the professional literature created back in the Soviet period. But the process of integrating Ukrainian musical education and performance into the European and world cultural space requires the study of alternative sources, primarily English-language ones, that reflect the experience of performers in different countries of the world, as well as correlations and the introduction of relevant terminology into scientific and practical circulation. Analyzing recent publications, we established that the phenomenon of the piano in general and piano sound in particular is considered from different points in the works of J. Parakilas (2000), E. Hiebert (2013), V. Raad (1977), G. Fitch (2016a,b; 2022), Shen Li and R. Timmers (2021), M. Keane (2013), Chuan C. Chang (2009), I. Masters (2021), and others. The purpose of this article was to study the approaches to the phenomenon of piano sound available in the English-language scientific literature. For the first time, a number of Englishlanguage sources dedicated to the phenomenon of piano sound have been included in domestic scientific circulation. Systematic and comparative methods, as well as terminological analysis used in the study, made it possible to distinguish different contexts, in which the phenomenon of piano sound is presented in scientific discourse: performance-practical, psychological, historical, organological (due to the structural features of the instruments). Research results. One of the approaches to the study of the piano sound phenomenon is the study of the history of the piano, its place in European culture and its social functions, as in the work of J. Parakilas (2000), where the author describes the history of the functioning of the piano during the 18th–20th centuries. The sound of the piano in the historical, stylistic and organological contexts is considered by I. Masters (2021), who investigated the structural and sound features of the London and Viennese pianos (second half of the 18th century) and their influence on the specifics of the piano texture, structure of themes, articulation and stroke palette of the works of pianists and composers of the London and Vienna schools. A purely performance and practical perspective is found in Chuan C. Chang’s book (2009), which covers most aspects of piano playing. Another example of a purely practical approach to the study of piano sound is the articles by G. Fitch (2016a,b; 2022), where he considers the process of creating an aesthetically pleasing sound. Another perspective on piano sound and playing is interdisciplinary, where musicology interacts with acoustics, psychology, and physiology (Keane, 2013; Li, & Timmers, 2021). Conclusions. A review of professional sources shows that the piano sound in the modern English-language scientific discourse is considered as a complex multifaceted phenomenon. The main and special concepts describing the sound of the piano are “tone”, “voicing”, “layering”. The first two terms have an ambiguous interpretation: some authors understand the quality of the instrument’s sound as the result of the performer’s actions, others as a certain manner of playing, and others as, first of all, the character of the sound determined by the design and technical condition of the instrument.
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Zipfel, Frank. "The Pleasures of Imagination. Aspects of Fictionality in the Poetics of the Age of Enlightenment and in Present-Day Theories of Fiction." Journal of Literary Theory 14, no. 2 (September 25, 2020): 260–86. http://dx.doi.org/10.1515/jlt-2020-2007.
Анотація:
AbstractInvestigations into the history of the modern practice of fiction encounter a wide range of obstacles. One of the major impediments lies in the fact that former centuries have used different concepts and terms to designate or describe phenomena or ideas that we, during the last 50 years, have been dealing with under the label of fiction/ality. Therefore, it is not easy to establish whether scholars and poets of other centuries actually do talk about what we today call fiction or fictionality and, if they do, what they say about it. Moreover, even when we detect discourses or propositions that seem to deal with aspects of fictionality we have to be careful and ask whether these propositions are actually intended to talk about phenomena that belong to the realm of fiction/ality. However, if we want to gain some knowledge about the history of fiction/ality, we have no other choice than to tackle the arduous task of trying to detect similarities (and differences) between the present-day discourse on fictionality and (allegedly) related discourses of other epochs. The goal of this paper is to make a small contribution to this task.The starting point of the paper are two observations, which also determine the approach I have chosen for my investigations. 1) In the 18th century the terms »fiction« or »fictionality« do not seem to play a significant role in the discussion of art and literature. However, some propositions of the discourse on imagination, one of the most prominent discourses of the Age of Enlightenment, seem to suggest that this discourse deals more or less explicitly with questions regarding the fictionality of literary artefacts as we conceive it today. 2) The concepts of imagination and fictionality are also closely linked in present-day theories of fiction. Naturally, the question arises how the entanglement of the concepts of fictionality and imagination can be understood in a historical perspective. Can it function as a common ground between 18th-century and present-day conceptions of fiction/ality? Is imagination still used in the same ways to explain phenomena of fictionality or have the approaches evolved over the last 250 years and if yes, then how? These kinds of questions inevitably lead to one major question: What do 18th-century and present-day conceptions of fiction/ality have in common, how much and in what ways do they differ?For heuristic reasons, the article is subdivided according to what I consider the three salient features of today’s institutional theories of fiction (i. e. theories which try to explain fictionality as an institutional practice that is determined and ruled by specific conventions): fictive utterance (aspects concerning the production of fictional texts), fictional content (aspects concerning the narrated story in fictional texts) and fictive stance (aspects concerning the reader’s response to fictional texts). The article focusses on the English, French and German-speaking debates of the long 18th century and within these discourses on the most central and, therefore, for the development of the concept of fiction/ality most influential figures. These are, most notably, Madame de Staël, Voltaire, Joseph Addison, Georg Friedrich Meier, Christian Wolff, the duo Johann Jakob Bodmer and Johann Jakob Breitinger as well as their adversary Johann Christoph Gottsched.The relevance of the article for a historical approach to the theory of fiction lies in the following aspects. By means of a tentative reconstruction of some carefully chosen propositions of 18th-century discourse on imagination I want to show that these propositions deal in some way or other with literary phenomena and theoretical concepts that in present-day theory are addressed under the label of fiction/ality. By comparing propositions stemming from 18th-century discourse on imagination with some major assertions of present-day theories of fiction I try to lay bare the similarities and the differences of the respective approaches to literary fiction and its conceptualisations. One of the major questions is to what extent these similarities and differences stem from the differing theoretical paradigms that are used to explain literary phenomena in both epochs. I venture some hypotheses about the influence of the respective theoretical backgrounds on the conceptions of fictionality then and today. An even more intriguing question seems to be whether the practice of fictional storytelling as we know and conceive it today had already been established during the 18th century or whether it was only in the process of being established.
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Chu (褚麗娟), Lijuan. "On the English Translation of Jian’ai by Late Qing Missionary-Sinologists." Journal of Chinese Humanities 7, no. 1-2 (December 9, 2021): 161–84. http://dx.doi.org/10.1163/23521341-12340112.
Анотація:
Abstract With an increasing volume of research being conducted on the transmission of premodern Chinese thought in the Western world, a plethora of studies have been published on the English translation of the ancient text Mozi, primarily through the lens of cross-cultural translation studies. Discussions on how the concept of jian’ai – often rendered as “universal love” – should be expressed in English have also taken place in this framework, while the topic has rarely been examined hermeneutically or with reference to histories of knowledge transfer, intellectuals, or scholarship. This article discusses the translation of jian’ai into English by the missionary-sinologists Joseph Edkins and James Legge during the mid-to-late 1800s. It points out that, while both scholars used the term “universal” to translate the concept, they differed on whether “equal” could be used. The author also demonstrates how differences in translation can signify differences in thinking. Using the “unit of thought” of hermeneutics as a methodology to study the translators’ conception of jian’ai via a comparison of common structural levels, a case can be made that both of them used the criticism by Mengzi of Mozi as a kind of “situational construction”. However, in terms of “situational processing”, Edkin’s demonstrated the necessity and equality of jian’ai by quoting the words of ancient sages and wise rulers just as Mozi did, while Legge focused on the “Teng Wen Gong I” chapter of the Mengzi, arguing that the idea of “equality” was not espoused by Mozi himself but rather his later followers. From the perspective of “situational fusion”, Edkins pointed out that, while jian’ai is similar in form to the love of Christ, it in fact shares more similarities with utilitarianism. By contrast, Legge believed that jian’ai was more in line with the thought of Confucius, while he also discussed the similarities and differences between jian’ai and the love of Christ. The differing understandings of jian’ai arrived at by these two scholars demonstrates that missionaries sent to China after the mid-nineteenth century underwent a transition from amateur to professional sinologists. Moreover, by examining how Mohism was introduced to the West in modern times, it can be shown how Legge’s interpretation of jian’ai coined a longstanding translated name for the concept.
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Buranok, O. M., N. E. Erofeeva, I. B. Kazakova, and O. V. Sizova. "“THE SECRET HISTORY OF THE PRESENT INTRIGUES OF THE COURT OF CARAMANIA” BY E. HAYWOOD." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23, no. 79(1) (2021): 60–65. http://dx.doi.org/10.37313/2413-9645-2021-23-79(1)-60-65.
Анотація:
The article examines the works of E. Haywood, as the author of novels, the publisher of three women's magazines that laid the groundwork for the culture of women's creativity in English literature of the XVIII century. Her name is called among the first authors of a women's novel, which is still interpreted from a gender perspective in modern science as a sociocultural phenomenon that represents the world through the eyes of women. Nevertheless, the authors of the article note the serious influence of men's literature on the work of the writer who was passionate about politics and social reforms. Special attention is paid to such genre modification of the novel as "secret histories", the predecessor of "the novel with the key". It is noted that what is new in "secret histories" is the shift in the angle of perception of the text itself, filled with facts about certain historical events and people, which were taken from various kinds of insinuations, as a rule, it had nothing to do with the real history, but attracted the reader with their variations in the relationships of the characters. Slander becomes the subject of the depiction, and its possessors represent heroes (antiheroes) through the prism of the certain moral values, including the state ones. For the first time in Russian literary criticism, the authors acquaint the reader to the "secret histories" of E. Haywood, novels “The Secret History of the Present Intrigues of the Court of Caramania”(1726), “Memories of a Certain Island Adjacent to the Kingdom of Utopia” (1725 – 26), “The Advantures of Eovaai, Princess of Ijavea; a preAdamitical History” (1736) in the context of women's prose in England in the XVIII century. The analysis of the novel “The Secret History of the Present Intrigues of the Court of Caramania” as the most vivid example of the "secret histories" by E. Haywood is offered. The material of the article will be of interest to the specialists, as well as to those who are interested in the development of the female genre of the novel in the literature of England during the Enlightenment.
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Lönnroth, Harry. "“Sie sagen skål und Herre gud und arrivederci”: On the Multilingual Correspondence between Ellen Thesleff and Gordon Craig." Journal of Finnish Studies 19, no. 1 (June 1, 2016): 104–20. http://dx.doi.org/10.5406/28315081.19.1.07.
Анотація:
Abstract The Finnish painter Ellen Thesleff (1869 − 1954) is one of the most famous female painters in Scandinavian art history. During her stay in Florence, Italy, at the beginning of the twentieth century, she became acquainted with the British theater personality and artist (Edward) Gordon Craig (1872 − 1966). Their correspondence from the first half of the century is a part of European cultural history and art criticism; they write, among other things, about painting and graphics, literature and theater. Of linguistic importance is that the original letters preserved for posterity contain traces of many European languages: not only German, which is a central language in the correspondence, but also French, Italian, and English. The focus of this paper is the coexistence of languages in the multilingual correspondence—about 200 dated and 60 undated letters—kept at the National Library of France in Paris. In this paper, microfilms are used instead of the original material, and the selection of letters is limited to twenty-five. The particular interest lies in Ellen Thesleff as a multiliterate, writing individual, and her choices of and switches between different languages. My study shows that Thesleff used a variety of languages when writing letters. This can, for example, be seen from the perspective of the personal nature and the communicative function of the personal letters, where the “self” of the writer is present. In a way, multilingualism has among other things an emotional function for her: one could, for instance, argue that it was used as a kind of “secret writing” or language play between Thesleff and Craig.
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Chambers, N. "Letters from the President: the correspondence of Sir Joseph Banks 1." Notes and Records of the Royal Society of London 53, no. 1 (January 22, 1999): 27–57. http://dx.doi.org/10.1098/rsnr.1999.0062.
Анотація:
Nothing gives so just an idea of an age as genuine letters; nay, history waits for its last seal from them.Horace Walpole 2 Many scientific ideas have been described in works that have deeply affected the way we regard ourselves and the world. Even when a scientist has not been so influential, his writings might still be a rewarding source of interest. Indeed, they might have artistic worth and broad historical relevance of a kind that is rarely appreciated. Nothing could be more true of the 18th century, when the literary nature of science made the spread of knowledge and enquiry possible. At this time some men made voyages of discovery to distant lands. They collected, described and classified, imposing scientific order on the ‘New World’ as they went. The reports that were sent back excited readers in Europe eager to hear more of remote places, and not least those considering the form an imperial order might take. Meanwhile, other men crowded into societies dedicated to learning, or gathered their fellows together in correspondence. The mass of information available for scientists increased with their ability to draw on such web-like networks. A few became powerful through them, even manipulating the course of history. This combination of science and literature as a means of shaping events drew Sir Gavin de Beer's attention to one man: ‘It is curious that Banks should not yet have been recognized as one of the greatest letter-writers in the English language, but such he clearly was.’. 3
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Kinkley, Jeffrey C. "The Monster That Is History: History, Violence, and Fictional Writing in Twentieth-Century China. By David Der-Wei Wang. [Berkeley, Los Angeles and London: University of California Press, 2004. 402 pp. ISBN 0-520-23140-6.]." China Quarterly 182 (June 2005): 439–41. http://dx.doi.org/10.1017/s0305741005270261.
Анотація:
This celebration of modern Chinese literature is a tour de force, David Wang's third major summation in English. He is even more prolific in Chinese. Wang's command of the creative and critical literatures is unrivalled.Monster's subject is “the multivalence of Chinese violence across the past century”: not 1960s “structural violence” or postcolonial “epistemic violence,” but hunger, suicide, anomie, betrayal (though not assassination or incarceration), and “the violence of representation”: misery that reflects or creates monstrosity in history. Monster thus comments on “history and memory,” like Ban Wang's and Yomi Braester's recent efforts, although for historical reasons modern Chinese literature studies are allergic to historical and sociological methodologies.Monster is comparative, mixing diverse – sometimes little read – post-May Fourth and Cold War-era works with pieces from the 19th and 20th fins de siècle. Each chapter is a free associative rhapsody (sometimes brilliant, sometimes tedious; often neo-Freudian), evoking, from a recurring minor detail as in new historicist criticism, a major binary trope or problematic for Wang to “collapse” or blur. His forte is making connections between works. The findings: (1) decapitation (loss of a “head,” or guiding consciousness?) in Chinese fiction betokens remembering or “re-membering” (of the severed), as in an unfinished Qing novel depicting beheaded Boxers, works by Lu Xun and Shen Congwen, and Wuhe's 2000 commemoration of a 1930 Taiwanese aboriginal uprising; (2) justice is poetic, but equals punishment, even crime, in late Qing castigatory novels, Bai Wei, and several Maoist writers; (3) in revolutionary literature, love and revolution blur, as do love affairs in life with those in fiction; (4) hunger, indistinct from anorexia, is excess; witness “starved” heroines of Lu Xun, Lu Ling, Eileen Chang and Chen Yingzhen; (5) remembering scars creates scars, as in socialist realism, Taiwan's anticommunist fiction, and post-Mao scar literature; (6) in fiction about evil (late Ming and late Qing novels; Jiang Gui), inhumanity is all too human and sex blurs with politics; (7) suicide can be a poet's immortality, from Wang Guowei to Gu Cheng; (8) cultural China's most creative new works invoke ghosts again, obscuring lines between the human, the “real,” and the spectral.
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Ziemba, Antoni. "Mistrzowie dawni. Szkic do dziejów dziewiętnastowiecznego pojęcia." Porta Aurea, no. 19 (December 22, 2020): 35–56. http://dx.doi.org/10.26881/porta.2020.19.01.
Анотація:
In the first half of the 19th century in literature on art the term ‘Old Masters’ was disseminated (Alte Meister, maître ancienns, etc.), this in relation to the concept of New Masters. However, contrary to the widespread view, it did not result from the name institutionalization of public museums (in Munich the name Alte Pinakothek was given in 1853, while in Dresden the Gemäldegalerie Alte Meister was given its name only after 1956). Both names, however, feature in collection catalogues, books, articles, press reports, as well as tourist guides. The term ‘Old Masters’ with reference to the artists of the modern era appeared in the late 17th century among the circles of English connoisseurs, amateur experts in art (John Evelyn, 1696). Meanwhile, the Great Tradition: from Filippo Villani and Alberti to Bellori, Baldinucci, and even Winckelmann, implied the use of the category of ‘Old Masters’ (antico, vecchio) in reference to ancient: Greek-Roman artists. There existed this general conceptual opposition: old (identified with ancient) v. new (the modern era).
An attempt is made to answer when this tradition was broken with, when and from what sources the concept (and subsequently the term) ‘Old Masters’ to define artists later than ancient was formed; namely the artists who are today referred to as mediaeval and modern (13th–18th c.). It was not a single moment in history, but a long intermittent process, leading to 18th- century connoisseurs and scholars who formalized early-modern collecting, antiquarian market, and museology.
The discerning and naming of the category in-between ancient masters (those referred to appropriately as ‘old’) and contemporary or recent (‘new’) artists resulted from the attempts made to systemize and categorize the chronology of art history for the needs of new collector- and connoisseurship in the second half of the 16th and in the 17th century. The old continuum of history of art was disrupted by Giorgio Vasari (Vite, 1550, 1568) who created the category of ‘non-ancient old’, ‘our old masters’, or ‘old-new’ masters (vecchi e non antichi, vecchi maestri nostri, i nostri vecchi, i vecchi moderni). The intuition of this ‘in-between’ the vecchi moderni and maestri moderni can be found in some writers-connoisseurs in the early 17th (e.g. Giulio Mancini). The Vasarian category of the ‘old modern’ is most fully reflected in the compartmentalizing of history conducted by Carel van Mander (Het Schilder-Boeck, 1604), who divided painters into: 1) oude (oude antijcke), ancient, antique, 2) oude modern, namely old modern; 3) modern; very modern, living currently. The oude modern constitute a sequence of artists beginning with the Van Eyck brothers to Marten de Vosa, preceding the era of ‘the famous living Netherlandish painters’.
The in-between status of ‘old modern’ was the topic of discourse among the academic circles, formulated by Jean de La Bruyère (1688; the principle of moving the caesura between antiquité and modernité), Charles Perrault (1687–1697: category of le notre siècle preceded by le siècle passé, namely the grand masters of the Renaissance), and Pellegrino Antonio Orlandi writing from the position of an academic studioso for connoisseurs and collectors (Abecedario pittorico, 1704, 1719, 1733, 1753; the antichimoderni category as distinct from the i viventi).
Together with Christian von Mechel (1781, 1783) the new understanding of ‘old modernity’ enters the scholarly domain of museology and the devising of displays in royal and ducal galleries opened to the public, undergoing the division into national categories (schools) and chronological ones in history of art becoming more a science (hence the alte niederländische/deutsche Meister or Schule). While planning and describing painterly schools at the Vienna Belvedere Gallery, the learned historian and expert creates a tripartite division of history, already without any reference to antiquity, and with a meaningful shift in eras: Alte, Neuere, and lebende Meister, namely ‘Old Masters’ (14th–16th/17th c.), ‘New Masters’ (Late 17th c. and the first half of the 18th c.), and contemporary ‘living artists’. The Alte Meister ceases to define ancient artists, while at the same time the unequivocally intensifying hegemony of antique attitudes in collecting and museology leads almost to an ardent defence of the right to collect only ‘new’ masters, namely those active recently or contemporarily. It is undertaken with fervour by Ludwig Christian von Hagedorn in his correspondence with his brother (1748), reflecting the Enlightenment cult of modernité, crucial for the mental culture of pre-Revolution France, and also having impact on the German region. As much as the new terminology became well rooted in the German-speaking regions (also in terminology applied in auction catalogues in 1719–1800, and obviously in the 19th century for good) and English-speaking ones (where the term ‘Old Masters’ was also used in press in reference to the collections of the National Gallery formed in 1824), in the French circles of the 18th century the traditional division into the ‘old’, namely ancient, and ‘new’, namely modern, was maintained (e.g. Recueil d’Estampes by Pierre Crozat), and in the early 19th century, adopted were the terms used in writings in relation to the Academy Salon (from 1791 located at Louvre’s Salon Carré) which was the venue for alternating displays of old and contemporary art, this justified in view of political and nationalistic legitimization of the oeuvre of the French through the connection with the tradition of the great masters of the past (Charles-Paul Landon, Pierre-Marie Gault de Saint-Germain).
As for the German-speaking regions, what played a particular role in consolidating the term: alte Meister, was the increasing Enlightenment – Romantic Medievalism as well as the cult of the Germanic past, and with it a revaluation of old-German painting: altdeutsch. The revision of old-German art in Weimar and Dresden, particularly within the Kunstfreunde circles, took place: from the category of barbarism and Gothic ineptitude, to the apology of the Teutonic spirit and true religiousness of the German Middle Ages (partic. Johann Gottlob von Quandt, Johann Wolfgang von Goethe). In this respect what actually had an impact was the traditional terminology backup formed in the Renaissance Humanist Germanics (ethnogenetic studies in ancient Germanic peoples, their customs, and language), which introduced the understanding of ancient times different from classical-ancient or Biblical-Christian into German historiography, and prepared grounds for the altdeutsche Geschichte and altdeutsche Kunst/Meister concepts. A different source area must have been provided by the Reformation and its iconoclasm, as well as the reaction to it, both on the Catholic, post-Tridentine side, and moderate Lutheran: in the form of paintings, often regarded by the people as ‘holy’ and ‘miraculous’; these were frequently ancient presentations, either Italo-Byzantine icons or works respected for their old age. Their ‘antiquity’ value raised by their defenders as symbols of the precedence of Christian cult at a given place contributed to the development of the concept of ‘ancient’ and ‘old’ painters in the 17th–18th century.
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Garcha, Amanpal. "FORGETTING THACKERAY AND UNMAKING CAREERS." Victorian Literature and Culture 46, no. 2 (May 16, 2018): 531–45. http://dx.doi.org/10.1017/s1060150318000128.
Анотація:
One of the peculiar challengesfacing scholars who wish to write about Thackeray's fiction is locating a dominant critical account to argue against. TheMLA Bibliographycontains a great number of examples of scrupulously argued, compelling research into Thackeray's body of writing, but few if any of them have reached any kind of canonical status as the (or even one of the) interpretive accounts that define how critics understand his fiction. It can seem, for example, that Thackeray is either consciously or unconsciously evaded by many scholars seeking to develop overarching, defining accounts of the nineteenth-century novel. In two works that helped set the terms for decades of critical conversation about nineteenth-century literature –Desire and Domestic Fiction(1987) andThe Novel and the Police(1988) – Nancy Armstrong and D. A. Miller each give at most a passing mention to Thackeray (he shows up four times in Armstong's book; never in Miller's). In their equally influential bodies of criticism, Mary Poovey and Catherine Gallagher provide no sustained – or even fragmentary – treatment of Thackeray's work. Moving into the twenty-first century, one would look in vain for a chapter on Thackeray in Amanda Anderson'sThe Powers of Distance(2001), Sharon Marcus'sBetween Women, and Alex Woloch'sThe One vs the Many(2003) – books that have provided us with key terms, issues, and methods to do our work. (To readers of this journal, it might be not necessary to say the following: Thackeray's fiction includes many illustrations of the phenomena discussed by these works – cosmopolitanism, female-female friendship, and minor characters – so his absence cannot be explained solely on this basis.) And to move backwards from the 1980s, Steven Marcus, J. Hillis Miller, and Raymond Williams produced pioneering analyses of the links between history, ideology, and Victorian literature, but Thackeray's writing played almost no part in their elaboration of those links, with Hillis Miller focusing on Thackeray only in one short essay and one book chapter among his large body of scholarship and Williams omitting him altogether fromThe English Novel from Dickens to Lawrence(1970).
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Kolchanov, Vladimir V., and Svetlana A. Kosyakova. "To the sources of the motive of mass psychosis in M.A. Bulgakov’s novel “The Master and Margarita”." Neophilology, no. 2 (2022): 312–23. http://dx.doi.org/10.20310/2587-6953-2022-8-2-312-323.
Анотація:
The aim of the work is to analyze the motive of mass psychosis in the novel “Master and Margarita” by M.A. Bulgakov. It is relevant nowadays, when the tendency of close study of madness motive in the writer's works as a particular case of madness motive in Russian literature is outlined in literary criticism. The subject of the research is the consideration of this motive as a technique of parody, creating a unique satirical palette of the sociopolitical life of the country in the era of 1920–1930. Therefore, the methodology of the article includes, along with traditional historical, cultural and mythopoetic approaches, a psychographic commentary. As a result, sources from various humanitarian spheres of human activity are involved in the analysis: fiction, historiography, cultural studies, religion, and psychiatry. Among them: a methodological guide to organizing mass singing “Mass Feasts” (1927) by E.F. Ryumin, , the history of burials in the Vagankovo Cemetery “Men of the Forties” (1869), the novel by A.F. Pisemsky and the related ideology of early twentieth-century literary movements (Symbolism and Proletkult), I.S. Lukash’s emigrant novel “Devil” (1922), a journal version of N. Ognev’s (M. G. Rozanov) novel “Diary of Kostya Ryabtsev” (1926–1928), work by English religion historian D. Robertson “Primordial Christianity” (Russian translation 1930), and N. Kalashnikov’s essay “The Count Cagliostro, the Sorcerer of the Last Century” (1893). Particular emphasis is placed on the psychiatric practice of subduing violent patients. It is concluded that to recreate the motive of mass hysteria Bulgakov’s parody goes from high to low, from laughter to a stamp of horror on the face.
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Helgesson, Stefan. "Litteraturvetenskapen och det kosmopolitiska begäret." Tidskrift för litteraturvetenskap 43, no. 1 (January 1, 2013): 81–93. http://dx.doi.org/10.54797/tfl.v43i1.10885.
Анотація:
Literary Studies and Cosmopolitan Desire
With a focus on Swedish and English translations of the Brazilian war narrative Os sertões (1902) by Euclides da Cunha, this essay begins by exploring the conditions of possibility for the transnational circulation of this Brazilian national classic as ”world literature”. A cosmopolitan, North Atlantic literary network – in which the Austrian writer Stefan Zweig was an influential figure (even posthumously) – is shown to have been instrumental in drawing the Swedish translator Thomas Warburton’s attention to Os sertões in the 1940s. Having traced the outlines of this translation history, the essay provides a theoretical excursus on the dynamic of cosmopolitan and vernacular tendencies in literary history and in the history of literary studies, especially the Swedish discipline of litteraturvetenskap. The underlying argument is that literary studies in Sweden has been shaped by a combination of methodological nationalism (with regard to primary sources) and methodological eurocentrism (in terms of its historical and theoretical horizon). The particular cosmopolitanism of literary studies in Sweden has in this way been expressive of Sweden’s position in a specific configuration of geopolitical power relations – a configuration that is currently undergoing significant changes and could be seen to motivate Dipesh Chakrabarty’s call to ”provincialize Europe”. In closing, it is therefore claimed that the case of Os sertões and its Swedish translation can be read in two ways: as an affirmation of a twentieth-century North Atlantic hegemony (and its corresponding form of cosmopolitanism) but also, if we close read the text itself, as a challenge to that very hegemony, potentially enabling a redistribution of the cosmopolitan desire of literary criticism.
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Блашків, О. В. "INTELLECTUALS IN THE FACE OF HISTORIC TURMOIL: “THE REVENGE OF THE PRINTER” BY STANISLAV ROSOVETSKYJ AS ACADEMIC FICTION." Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 3, no. 93 (December 20, 2019): 3–15. http://dx.doi.org/10.34142/2312-1076.2019.3.93.01.
Анотація:
Since mid-twentieth century the academic novel has been treated in English literary criticism as a separate literary genre centered on the life of professors. Often the action takes place on and outside of campus, revealing the professors’ private concerns. Satire is a characteristic feature of academic novels, which usually drives the action. In these novels university appears as a “microcosm of society at large.” Even though the academic novel is an emerging genre in Ukrainian literature, there are texts which fall into this category. In the article the author analyzes “The Revenge of the Printer” by Stanislav Rosovetskyj as academic fiction. The novel has two plot lines, one of which is set in late 1580s in the times of Ivan Fedorov, another is set in the summer of 1991. The plot lines are joined by the setting, which is St. Onuphrius Monastery in Lviv, which in the twentieth century was turned into the museum of book-printing. The novel has the following features of the academic fiction: the main setting and the object of satire is theIvanFedorovMuseum, a cloistered institution like the university campus; the protagonist Shalva Bukviani is an academic and a professor of history facing the choice to leave the institution or to conform to the changing ideology. Collectively, these characteristics allow to define the main theme as the role of individual in the times of historical turmoil. Special attention is paid to the image of Fedorov, whose life in the novel is portrayed as a literary biography, based on research of contemporary Ukrainian historians alternative to the Soviet narrative. Due to the image of Fedorov as “Renaissance man” in the novel, the image of contemporary scholar appears as Sick Soul (M. Andryczyk), “a small Soviet man” unable to engage in protection of cultural heritage in the time of sociopolitical change.
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Stundžienė, Bronė. "Turning to the Beginning of the Lithuanian Folksong Publication." Tautosakos darbai 56 (December 20, 2018): 133–55. http://dx.doi.org/10.51554/td.2018.28475.
Анотація:
Against certain broader context of discussing the historical reflection of relationship between pre-literate culture and writing, the author of the article pays detailed attention to the unusual transformations in folksong development that are brought about by literacy. We usually rightfully consider literacy as an unmistakable indication of cultural progress. In this regard, subsequent recording and printing of folksongs that started in later periods of literacy also merit positive evaluation. Although both modes of fixation belong to the same period of Lithuanian cultural history, however, from the middle of the 18th century until the beginning of the 19th century, printed publications of folksongs acquired immense importance. Looking from a historical distance – the present times, the author of the article reconsiders and reinterprets the sociocultural surroundings of this new mode of folklore dissemination, taking into account what aims the first folklore publishers had and whether or not they managed to achieve them. Essentially, one particular aspect in the beginning of the written Lithuanian folksong tradition is in the focus of attention – namely, how and why the state of folksong altered in the process of becoming a printed source. In the first chapter, following the historical revisions of medieval culture, the author of the article reconsiders the prehistory of folklore publication as the common European process. She takes into account the sociocultural aspects of this period: namely, creations of the “singing peasantry” – the part of the society belonging to the lower classes and engaged in agriculture, which was essentially banned from writing and ignored by the literate society. Like in the rest of Europe, in the medieval literature of the multilingual Grand Duchy of Lithuania and the Lithuanian-speaking Eastern Prussia (currently, the Lithuania Minor), contemporary reflection of folk culture was almost entirely absent or obscure until the middle of the 18th century. As noted in the second chapter, the situation of folk poetry started changing in the Lithuania Minor (the early center of the Lithuanian written culture) with Philip Ruhig publishing his linguistic treatise in 1745 and including (for research purposes) three Lithuanian folksongs. Shortly after, Gotthold Ephraim Lessing reprinted two of them in one of his “Literary Letters” (1759). Subsequently, another famous figure of the German pre-Romanticism and its ideologist Johann Gottfried von Herder included as many as eight Lithuanian folksongs translated into German into his international collection “The Voices of Peoples in Songs”. Thus, the history of Lithuanian folksong publication started with altering attitude towards the so-called “third estate”; this shift is currently regarded as a sociocultural turn inspired by pre-Romanticism and clearing the way for the poetic folk creativity allegedly harboring the “national spirit”. These ideas inspired the famous theologian and pedagogue Liudvikas Rėza (Ludwig Rhesa) to edit the first book of Lithuanian folksongs. This bilingual collection (in Lithuanian and German) saw publication in Konigsberg in 1825. However, traces of the former social separation were persistent. As such, one could name the early tendency of folklore recording and publication: to indicate just the publisher (collector), leaving aside the main actors – the folk singers, although currently they stand out as representatives of the people. Folklorists would subsequently correct this situation. The author of the article goes on to discuss the losses suffered by the folk creativity under the new conditions of literacy. Comparison of the first printed folksongs with their mode of existence in the living folksong process of the 18th – beginning of the 19th century reveals clear changes in the folksong identity. The frozen printed variant loses its capacity to change, along with its former vitality granted by the oral culture; as any other product of the written culture, the printed folksong immediately becomes the past event. Besides, transition from the oral transmission to the area of written culture turns the song into some kind of literary work: therefore, the value of the songs would for a long time since be measured by literary means, and publishing of the songs as poems (leaving out the melodies) would become a common practice. The main thing is, nevertheless, that publication of folksongs in writing and their separate reading completely erase the typical folk communication of ritual culture by means of common places of folksongs – shared for many generations in the pre-literate culture. However, the emerging parallel folksong publication opens up entirely new mode of communication. Already at the very beginning of Lithuanian folksong publication, its publisher obviously acquired individual right to edit the folklore at discretion. Selection of materials for publication (including some changes and reconstructions made along the way) followed primarily the actual purposes of publication, which included presenting the folksong image that would be more readily acceptable to the contemporary readership and satisfy the community’s expectations. It is public knowledge that Rėza, the initiator of the first Lithuanian folksong book, following the nice inspiration of his pre-Romantic period (maintaining that national spirit lived in folklore) also aspired to use folksongs in order to reveal the noble and dignified picture of the ancient Lithuanian people. Part of this picture – harmonious family and correspondingly ideal relations between its members – received vivid attention in this collection. The article concludes with interpretation of a couple of folksongs discussing a case of early insignificant corrections of the motives reflecting the ritual purpose of folksongs. So far, the author leaves aside certain prominent tendencies of re-creation that already have received harsh criticism before.
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Andrianova, Irina. "Stenography and Literature: What did Western European and Russian Writers Master the Art of Shorthand Writing For?" Studia Slavica Academiae Scientiarum Hungaricae 64, no. 1 (June 2019): 1–11. http://dx.doi.org/10.1556/060.2019.64101.
Анотація:
What brings together Daniel Defoe, Charles Dickens, Vsevolod Krestovsky, Nikolai Chernyshevsky, Fyodor Dostoevsky, Аlexander Kuprin, George Bernard Shaw, and Аstrid Lindgren, i.e. writers from different countries and belonging to different epochs? In their creative work, they all used stenography, or rapid writing, permitting a person to listen to true speech and record it simultaneously. This paper discloses the role of stenography in literary activities of European and Russian writers in the 19th and early 20th centuries. Some researchers believe that the first ties between shorthand and literature appeared in the days of Shakespeare when the playwright's competitors used shorthand to put down the texts of his plays. Others have convincingly refuted this viewpoint, proving that such records never existed. The most famous English novelist in the 17th and 18th centuries Daniel Defoe can be considered one of the first writers who used shorthand in his literary work. The writers mastering the art of shorthand writing such as Defoe, Dickens, and Lindgren were popular in various professional spheres (among others, the secret service, journalism, and secretarial service) where they successfully applied their skills in shorthand writing. Stenography was an integral part of a creative process of the authors who resorted to it (Dostoevsky, Krestovsky, Shaw, and Lindgren). It economized their time and efforts, saved them from poverty and from the terms of enslavement stipulated in the contracts between writers and publishers. It is mainly thanks to stenography that their works became renowned all over the world. If Charles Dickens called himself “the best writer-stenographer” of the 19th century, F. M. Dostoevsky became a great admirer of the “high art” of shorthand. He was the second writer in Russia (following V. Krestovsky), who applied shorthand writing in his literary work but the only one in the world literature for whom stenography became something more than just shorthand. This art modified and enriched the model of his creative process not for a while but for life, and it had an influence on the poetics of his novels and the story A Gentle Creature, and led to changes in the writer's private life. In the course of the years of the marriage of Dostoevsky and his stenographer Anna Snitkina, the author's artistic talent came to the peak. The largest and most important part of his literary writings was created in that period. As a matter of fact, having become the “photograph” of live speech two centuries ago, shorthand made a revolution in the world, and became art and science for people. However, its history did not turn to be everlasting. In the 21st century, the art of shorthand writing is on the edge of disappearing and in deep crisis. The author of the paper touches upon the problem of revival of social interest in stenography and its maintenance as an art. Archival collections in Europe and Russia contain numerous documents written in short-hand by means of various shorthand systems. If humanity does not study shorthand and loses the ability to read verbatim records, the content of these documents will be hidden for us forever.
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Rudnev, Dmitrii V. "Predecessors of A. S. Shishkov at the Naval Cadet Corps." Texts and History: Journal of Philological, Historical and Cultural Texts and History Studies 3 (2020): 63–77. http://dx.doi.org/10.31860/2712-7591-2020-3-63-77.
Анотація:
Despite the extensive literature on A. S. Shishkov’s linguistic views, the question of their sources has not yet been resolved. This article considers Shishkov’s views on language in the context of the cultural atmosphere in the Naval Cadet Corps in St. Petersburg. The upbringing of future marine officers was strongly influenced by the English naval science, which, apparently, left its mark on the cultural life of the Corps. In the last quarter of the 18th century, the Corps was dominated not by the Gallomania inherent in Russian high society, but by traditionalist views. An example of such traditionalism is the attitude of the Corps inspector V. V. Nikitin and his assistant P. I. Suvorov, who taught mathematics and a number of other disciplines, toward language. They put their linguistic views into practice in their two textbooks on mathematics — Euclidean elements and Two books of trigonometry where they translated all mathematical terminology into Russian. Moreover, they expounded their views in the introduction to the Euclidean elements. Based on the materials of the Russian State Naval Archive, the article traces the complex publishing history of these textbooks and their further fate. For over ten years, from the first half of the 1780s to the mid-1790s, Nikitin and Suvorov were spreading their linguistic views through their math textbooks and while teaching cadets. Shishkov, who served and taught at the Naval Cadet Corps in the 1770–1780s, was undoubtedly familiar with these views. Some features of his point of view on language suggest that it could be influenced by the linguistic views of his colleagues from the Naval Cadet Corps.