Щоб переглянути інші типи публікацій з цієї теми, перейдіть за посиланням: English literature History and criticism 18th century.
Статті в журналах з теми "English literature History and criticism 18th century"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся з топ-50 статей у журналах для дослідження на тему "English literature History and criticism 18th century".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Переглядайте статті в журналах для різних дисциплін та оформлюйте правильно вашу бібліографію.
1
Kettler, Andrew. "Dispersing the Devil’s Stench: Shifting Perceptions of Sulfuric Miasma in Early Modern English Literatures." Partial Answers: Journal of Literature and the History of Ideas 22, no. 1 (January 2024): 27–53. http://dx.doi.org/10.1353/pan.2024.a916698.
Повний текст джерелаАнотація:
Abstract: From approximately 1500 to 1650, English references to sulfur’s stench focused on sensory indications of hell, demons, and wickedness in worldly environments. Thereafter, most English references to the pungent rock turned proportionately to technics, medicine, and progress. The increasing presence of sulfuric miasma within secularizing applications for fumigations, gunpowder, and industry led to a limiting of the role of sulfur as a signifier of hell within English environments. Due to economic incentives, supernatural discourses on brimstone atmospheres faced semantic dispersion, as sulfur took on a growing number of connotations instead of remaining a significant environmental signifier of the scent of the devil and his toadies. These shifting literary associations for sulfur exemplify the fluctuating powers of the market, religious voices, biopolitical networks, and the state to define what is matter out of place , or what can be considered too environmentally toxic for economic consumption. Revising the prominence of synchronic work in Early Modern Studies that critiques the dis-enchantment thesis, and redeploying theory from Douglas, Jameson, Greenblatt, Eagleton, and Rancière, this essay highlights connections between the History of Ideas, Environmental Studies, and literary criticism through asserting that the sheer abundance of sulfuric substances in the environment, caused by increased uses for the rock in the coal-fired furnaces of the 18th century, added to a literary dislodgment of mystical definitions of sulfur’s smell as signifying evil. As the Industrial Revolution stuffed chimneys with additional sulfur compounds, material encounters with brimstone became common. Continuously taught that sulfur meant profit and purity, reformed English noses found less sin in the smell of acrid sulfur smoke. This analysis portrays that within literatures that included associations to sulfur, the impending Anthropocene was tested, greenwashed, and approved by the masses of the disenchanting English public sphere.
2
Wanting, Sun. "A study of emotion in English literature in the 18th century from the perspective of cultural ecology." OOO "Zhurnal "Voprosy Istorii" 2023, no. 4-1 (April 1, 2023): 86–93. http://dx.doi.org/10.31166/voprosyistorii202304statyi21.
Повний текст джерелаАнотація:
From the perspective of cultural ecology, this paper discusses the influence of enlightenment on English literature in the eighteenth century and analyzes the emotional expression in English literature in the 18th century.
3
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.
Повний текст джерелаАнотація:
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.
4
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.
Повний текст джерелаАнотація:
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.
5
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.
Повний текст джерелаАнотація:
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.
6
Wakelin, Daniel. "Written in Haste: Practical Letters and Everyday Criticism in the Fifteenth Century." ELH 91, no. 1 (March 2024): 1–27. http://dx.doi.org/10.1353/elh.2024.a922007.
Повний текст джерелаАнотація:
Abstract: The phrase written in haste is a conventional ending of English letters in the fifteenth century. The formula does reflect the speed of practical uses of literacy. It also, however, is a critical term by which people evaluate their letters against aspirations to write better. The aspiration might concern style, but in haste and the related closing phrase no more also concern the content, extent and frequency of letters. Such phrases engage in a process of criticism which both invites literary critics now to read practical texts slowly and expands the criteria that such criticism might use.
7
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.
Повний текст джерелаАнотація:
“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.
8
Sumati Bharti. "Pantheism and William Wordsworth." Knowledgeable Research: A Multidisciplinary Journal 2, no. 04 (November 30, 2023): 39–43. http://dx.doi.org/10.57067/kr.v2i1.191.
Повний текст джерелаАнотація:
A religious theory that may be utilized to construct an Islamic criticism of English literature according to Islamic principles is Wordsworth’s pantheism. Pantheism may encourage academics whose ultimate objective is to understand God via the study of natural objects of the universe found in English literature, despite the fact that it is fundamentally antithetical to God’s oneness. We were therefore enthralled by Wordsworth’s interpretation and comprehension of nature. However, we tried to reconstruct the idea from an Islamic perspective utilizing Quranic text after learning that his idea of God’s partial presence as a being within each natural element violates Islamic monotheism. The romantic poets like such as Wordsworth, Keats, and Shelley in Britain; transcendentalists Emerson and Thoreau in the United States; and Goethe and Hegel in Germany all contributed to the idea’s rise in popularity in the late 18th and early 19th centuries. It emerged as the preeminent literary form dedicated to praising nature in the nineteenth century. Philosophers and poets from all eras and stages manifest pantheism in a variety of languages.
9
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.
Повний текст джерелаАнотація:
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.
10
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.
Повний текст джерелаАнотація:
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.
11
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.
Повний текст джерелаАнотація:
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.
12
Żegleń-Włodarczyk, Małgorzata. "The English guitar and the forgotten guitar repertoire of the second half of the 18th century." Edukacja Muzyczna 17 (2022): 139–55. http://dx.doi.org/10.16926/em.2022.17.10.
Повний текст джерелаАнотація:
The time leading up to one of the most important periods in the history of guitar music – “the golden age of the guitar” in the first half of the 19th century – was the heyday of European cities such as London, Paris, Vienna or Dresden. Music was the main source of entertainment for royalty and high society, and numerous music publications, sheet music editions and instrument hand-books were being created. Manufactures tried to outdo each other in structural innovations, refin-ing and patenting increasingly interesting instruments. One such instrument was the immensely pop-ular English guitar (guittar), which differed in design and tuning from the instrument we know today. At present, it would be futile to look for the guitar repertoire of the second half of the 18th century on concert stages or in academic curricula (with a few exceptions, such as Luigi Boccheri-ni's quintets or Giuseppe Antonio Brescianello's partitas), and English music is almost nowhere to be found. It is, to a large extent, undiscovered and nearly forgotten. Bringing it back to life will not only provide insight into the design and performing capabilities of the now unknown guittar (as well as its distinctive playing technique, fingering and articulation) and allow us to learn more about the works composed for the instrument (and their characteristic features), but – above all – give a full picture of the evolving aesthetics of the 18th century. These compositions will also fill the existing gap in the guitar repertoire of the second half of the 18th century, offering broad prospects for their performance in the future. The most important consequence of that is the preservation of the continuity of guitar literature from the Renaissance to the present day, and the resulting possibility to make the world described in Leopold Mozart’s or Carl Philipp Emanuel Bach’s treatises tangible.
13
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.
Повний текст джерелаАнотація:
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.
14
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.
Повний текст джерелаАнотація:
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.
15
Gu, Qiushi. "Trauma, Haunting, and Representation: Rereading and the Translation Examination of Kokoro." Journal of Language Teaching and Research 15, no. 1 (December 31, 2023): 263–70. http://dx.doi.org/10.17507/jltr.1501.29.
Повний текст джерелаАнотація:
The Japanese novel, Kokoro (1914), offers a profound insight into early 20th-century Japanese society encompassing history, politics, and literature. Although this novel has been extensively explored in literary and translation studies, the convergence remains underexplored. This study advocates integrating literary criticism with translation practice for a more faithful representation of narratives. Applying trauma/PTSD studies theory, it meticulously analyzes Kokoro, particularly examining the English and Chinese renditions of the pivotal term “談判 (danpan; negotiation)”. The methodology involves constructing a trilingual database, incorporating the Japanese source text and seven translations in English and Chinese. By scrutinizing specific passages, the study delves into trauma-related responses and behaviors, revealing their impact on long-lasting changes in personality and relationships. Emphasis is placed on the translation of key terms, preserving cultural and linguistic nuances. This innovative approach advances both literary criticism and translation theory, emphasizing psychological elements for a nuanced portrayal of characters’ states of mind. The study underscores the significance of trauma narratives in comprehending personal and historical traumas, asserting that translators of trauma literature must blend theoretical knowledge with social responsibility. They serve as “secondary witnesses,” entrusted with accurately transmitting traumatic stories between languages, fostering empathy, and preventing the repetition of tragedies in history. This approach provides an innovative interpretation of Kokoro and its translations, bridging the realms of literary criticism and translation studies.
16
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.
Повний текст джерелаАнотація:
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.
17
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.
Повний текст джерелаАнотація:
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.
18
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.
Повний текст джерелаАнотація:
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.
19
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.
Повний текст джерелаАнотація:
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.
20
Barendse, R. J. "Shipbuilding in Seventeenth-Century Western India." Itinerario 19, no. 3 (November 1995): 175–95. http://dx.doi.org/10.1017/s0165115300021392.
Повний текст джерелаАнотація:
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.
21
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.
Повний текст джерелаАнотація:
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.
22
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.
Повний текст джерелаАнотація:
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.
23
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.
Повний текст джерелаАнотація:
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.
24
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.
Повний текст джерелаАнотація:
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.
25
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.
Повний текст джерелаАнотація:
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.
26
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.
Повний текст джерела
27
Shvetsova, Tatiana, and Veronika Shakhova. "The image of Robinson Crusoe in the aspect of the problem of “one’s own — alien”." World of the Russian Word, no. 1 (2023): 55–62. http://dx.doi.org/10.21638/spbu30.2023.107.
Повний текст джерелаАнотація:
One of the topical problems of modern literary criticism is the study of dichotomy “one’s own — alien”. This dichotomy is a representation of a different culture, language and mentality of one people in the literature of another people. The article analyzes the evolution of the Robinson Crusoe’s image in the Russian worldview within the framework of the imagological problem. The novel “The Life and Strange Surprizing Adventures of Robinson Crusoe” by the English writer Daniel Defoe belongs to the most widely read works of world literature. Interest in it does not fade, both from readers and from experts in various subject areas. Despite the formal simplicity of this text’s architectonics, Defoe’s novel discovered a new artistic paradigm. The Robinson story has long gone beyond the boundaries of the adventure genre. The number of questions about survival, exploitation of resources, social and political interaction with other human communities does not decrease, and the search for answers is becoming global and broad. Various authors around the world view these issues through the lens of Defoe’s novel and his hero. Using the method of imagological analysis proposed by modern scholars (A.A.Kozlova, L.P.Ivanova, etc.), the author analyzes the process of perceiving Robinson Crusoe’s image in Russia in 18th–21st centuries, and demonstrates that in the 18th century, when Defoe’s novel was translated into Russian, Robinson was an “alien” name. Then this proper name became nationally precedent and formed as a concept of linguistic consciousness and culture. The author explores the factors that influenced the development of Robinson’s image, through which it became “one’s own” in Russian culture. Among other factors, there are the creation and development of universal image indicators in a concentrated form (symbolization), embodiment in other forms of art (semiotization), the development of additional prototype consciousness (connotonimization), integration into the system of heroes of Russian writers (interpolation).
28
Milecka, Małgorzata, and Seweryn Malawski. "Spatial and ideological transformation of the Abbots’ Garden in Oliwa in the 18th century." Roczniki Humanistyczne 71, no. 4 (June 23, 2023): 109–36. http://dx.doi.org/10.18290/rh23714.4.
Повний текст джерелаАнотація:
Ever since the Medieval era, Cistercian monasteries have been the centres of architecture, horticulture, art and craft. Their abbeys were also distinguished by a rich theological program. Within the larger monastic complexes, the abbot occupied a representative building, surrounded by an ornamental garden. In the 15th century, the Abbot’s Palace was erected at the Abbey in Oliwa, which had been founded in 1178. The abbot’s seat was repeatedly expanded by successive abbots, including Kasper Geschkau, Dawid Konarski, Jan Grabiński, Aleksander Kęsowski, and Franciszek Zaleski. Józef Jacek Rybiński in particular made some notable achievements, including building a new Rococo palace surrounded by a Baroque garden, which was characterised by a rich program referring to Christian symbolism. After 1772, Cistercian goods and properties were confiscated by Prussia. In 1782, Prince Karl von Hohenzollern-Hechingen, and then his nephew Prince Joseph, became the new abbots. With the help of the gardener Johann Georg Saltzmann, Prince Karl enlarged the garden with a new English- Chinese section with a rich Oriental program. The article presents the history of the garden, the evolution of its ideological program and layout, the landscape values of the former monastery complex as well as its contemporary resources.
29
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.
Повний текст джерелаАнотація:
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.
30
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.
Повний текст джерелаАнотація:
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.
31
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.
Повний текст джерелаАнотація:
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.
32
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.
Повний текст джерелаАнотація:
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.
33
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.
Повний текст джерелаАнотація:
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.
34
Fazli, Bilal Ahmad. "Methodology of Literary Criticism Based on the Theory of Feminism." Randwick International of Education and Linguistics Science Journal 4, no. 1 (March 31, 2023): 142–48. http://dx.doi.org/10.47175/rielsj.v4i1.630.
Повний текст джерелаАнотація:
Feminism is an organized movement to defend women's rights, whose roots go back to the Periods of European Enlightenment (Renaissance). Throughout its long history, this movement wanted to overthrow the patriarchal system and eliminate the rule of gender discrimination. Feminism officially began its activity at the end of the 18th century and has gone through a period full of ups and downs since then. The three important waves of this movement are considered to be one of its most important activities, whose basic goals are "preserving the right to vote for women, and emphasizing protest against gender, social and economic differences and inequalities." After the feminism movement, feminist criticism emerged followed the reflection of women's voices and their experiences in literature and started its activities from the second half of the 20th century. The works of famous writers such as “Virginia Woolf” and “Simon de Boir” are eminent examples of this movement. In this article, we have reviewed the methods that can be used to study literary works from the perspective of feminist criticism, as well as the things that a literary critic can do to write a good and interesting critique of a work based on the theory of feminism. The result showcased that Critics who take a feminist approach in criticizing literary texts do not deny the existence of differences between male and female characters in the works. It may be said that the view that women are different from men basically corresponds to patriarchal ideology, but it must be said that the third wave feminists do not deny the existence of a difference between men and women, and in their opinion, the difference between women and men can even be seen in the readiness or potential ability of women to establish interpersonal communication and recognize it as a symbol of compassion, empathy and kindness. In addition, we have also stated that it can be a good guide in the field of writing feminist criticism on literary and artistic works.
35
Togoeva, Olga. "English Familiars and their Owners: Scenes from “Family” Life." ISTORIYA 14, no. 3 (125) (2023): 0. http://dx.doi.org/10.18254/s207987840025093-1.
Повний текст джерелаАнотація:
English witchcraft pamphlets are a unique source within the vast corpus of European demonological literature of the Late Middle Ages and early Modern times. The pamphlets not only retold the details of real witchcraft processes, they also contained a huge number of details concerning the most diverse aspects of the everyday life of English society of the 16th — early 18th century. The article analyzes the features of the relationships that, according to the authors of the pamphlets, witches built with their household “spirits” — familiars, who were used to bring damage to the offenders. According to the author of the article, these relations were of a dual nature. On the one hand, familiars were the first and most important helpers for their mistresses. On the other hand, the aggression of the “spirits” could be directed not only at the witch’s neighbors, but also at herself. From this point of view, the author of the article sees many common features in the descriptions of English familiars and demons of possessed people who behaved identically towards their victims. Thus, the author comes to the conclusion that the descriptions of the everyday life of English witches of early Modern times and their familiars provide a key to understanding the origins of this phenomenon itself: apparently, the concept of “familiar” was born partly under the influence of the continental demonological tradition.
36
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.
Повний текст джерелаАнотація:
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.
37
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.
Повний текст джерелаАнотація:
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.
38
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.
Повний текст джерелаАнотація:
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.
39
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.
Повний текст джерелаАнотація:
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.
40
Shcherbinina, Yu I. "Teaching Creative Writing within the framework of philology: historical overview." Vestnik of Samara University. History, pedagogics, philology 29, no. 4 (December 30, 2023): 173–82. http://dx.doi.org/10.18287/2542-0445-2023-29-4-173-182.
Повний текст джерелаАнотація:
The purpose of the present article is to consider the dialectical relationship between Creative Writing and philology. The relevance of this subject is borne out by the recent surge of interest in teaching Creative Writing among EFL practitioners, writers, as well as teachers and researchers of literature, and the lack of a well-established system of instruction in our country. The materials analyzed in the paper include the works of American theoreticians and practitioners of Creative Writing, who laid the foundation of this discipline in the late 19th – early 20th century, the works of British scholars, as well as the articles on linguodidactics of modern Russian researchers. The paper seeks to point out the issues involved in teaching Creative Writing, such as its place among other disciplines (literary criticism, English studies, English composition, linguodidactics) and its institutional status; its vision as a mere method of teaching or a separate field of investigation. It is shown that the skills and competences developed by Creative Writing programmes are in high demand, and there is a growing need for such courses in Russia. The article aims to demonstrate the features that bring together Creative Writing and philology in the Russian academic context and allow to envisage the incorporation of Creative Writing into the professional training of philologists, in particular those specializing in English studies. The article concludes by highlighting the role creative writing plays in promoting a deeper appreciation of literature, developing productive language skills and raising more competent readers.
41
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.
Повний текст джерелаАнотація:
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.
42
Panov, Alexei A., and Ivan V. Rosanoff. "An attempt to attribute the authorship of the treatises from the collection “The Modern Musick-Master” (London, 1730)." Contemporary Musicology, no. 1 (2021): 41–56. http://dx.doi.org/10.56620/2587-9731-2021-1-041-056.
Повний текст джерелаАнотація:
In 1730, a collection of treatises on singing and playing various musical instruments was published in London. It included “A Brief History of Music” and a small musical dictionary. Neither on the title page nor elsewhere in the text do we find information about its author/authors. Today, both reference and encyclopedic literature as well as special scholarly works refer to Peter Prelleur as the author (very rarely the compiler) of the collection. However, when comparing the basic explanations of musical theory and the basic performing principles in each individual treatise, these explanations turn out to be contradictory. The article provides a comparative analysis of the materials in the collection itself and in the works published in England from the middle of the 17th century to 1730. Based on the results of the analysis and the data obtained from modern research, the authors come to the conclusion that all the sections of the collection in question represent a compilation of materials. The materials came from previously published manuals written by English, French and Italian musicians and were then supplemented by theoretical and performance guidelines relevant for those days. In general, the collection is a perfect example of pirate traditions of English book publishers of the 18th century. It is safe to say that “The Modern Musick-Master” was a collective effort and Peter Prelleur was not its only author or compiler.
43
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.
Повний текст джерелаАнотація:
<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>
44
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.
Повний текст джерелаАнотація:
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.
45
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.
Повний текст джерелаАнотація:
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.
46
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.
Повний текст джерелаАнотація:
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.
47
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.
Повний текст джерелаАнотація:
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.
48
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.
Повний текст джерелаАнотація:
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.
49
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.
Повний текст джерелаАнотація:
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.
50
Bolker, Jamie M. "William Falconer and the Rhetoric of the Sea." Eighteenth-Century Life 47, no. 2 (April 1, 2023): 166–87. http://dx.doi.org/10.1215/00982601-10394936.
Повний текст джерелаАнотація:
This essay explores how William Falconer's A Universal Dictionary of the Marine exemplifies the “rhetoric of the sea,” which operates according to an inclusive approach to maritime knowledge, which maritime authors adopted in an effort to translate into writing a unique, physical practice at sea. Since maritime practice involved diverse processes in an environment that could not be controlled, maritime and navigation books thereby contained diverse styles and forms, from poetry, to criticism, to illustrations, to definitions, in an effort to reflect the diversity, and experience, of the sea itself. This essay places Falconer's Dictionary (1769) into a longer history of maritime and navigation books, especially dictionaries, including John Smith's Seaman's Grammar and Dictionary (1626), and the development of specialized dictionaries in English. Building on developments in “blue ecocriticism,” this essay concludes by suggesting that the eighteenth-century rhetoric of the sea provides us an understanding of the semantic and physical power of the world's oceans.