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1
Ziolkowski, Theodore, and René Wellek. "A History of Modern Criticism, 1750-1950. 7: German, Russian, and Eastern European Criticism, 1900-1950." World Literature Today 67, no. 1 (1993): 249. http://dx.doi.org/10.2307/40149060.
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Hart, Thomas R., and Rene Wellek. "A History of Modern Criticism, 1750-1950: Vol. 7, German, Russian and East European Criticism, 1900-1950." Comparative Literature 44, no. 2 (1992): 207. http://dx.doi.org/10.2307/1770347.
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Bula, Andrew. "Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya." Journal of Practical Studies in Education 2, no. 5 (August 6, 2021): 26–31. http://dx.doi.org/10.46809/jpse.v2i5.30.
Повний текст джерелаАнотація:
Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, which he completed in 1989, is a staggering 734-page document. Professor Akwanya has also taught many literature courses, namely: European Continental Literature, Studies in Drama, Modern Literary Theory, African Poetry, History of Theatre: Aeschylus to Shakespeare, European Theatre since Ibsen, English Literature Survey: the Beginnings, Semantics, History of the English Language, History of Criticism, Modern Discourse Analysis, Greek and Roman Literatures, Linguistics and the Teaching of Literature, Major Strands in Literary Criticism, Issues in Comparative Literature, Discourse Theory, English Poetry, English Drama, Modern British Literature, Comparative Studies in Poetry, Comparative Studies in Drama, Studies in African Drama, and Philosophy of Literature. A Fellow of Nigerian Academy of Letters, Akwanya’s open access works have been read over 109,478 times around the world. In this wide-ranging interview, he speaks to Andrew Bula, a young lecturer from Baze University, Abuja, shedding light on a variety of issues around which his life revolves.
4
Shaytanov, I. O. "History of Russian translations of fiction in 1800–1825." Voprosy literatury, no. 6 (December 8, 2023): 174–79. http://dx.doi.org/10.31425/0042-8795-2023-6-174-179.
Повний текст джерелаАнотація:
The research is presented in the form close to a fundamentally annotated bibliography demonstrating how European literary experience was advanced in the first quarter of the 19th c. in Russia at the time when contemporary Russian literature was being shaped. Six parts are devoted successively to French, German, English, Italian, Spanish, and classical literatures. The major aspects of research are outlined in an extensive foreword (E. Dmitrieva, M. Koreneva). Highlights include: Comparative analysis of the international contacts of Russian literature; a new interest in the novel, the genre that manifested a new literary taste; publishing and the audience in Russia compared to other European cultures; the birth of literary criticism on the margins of rhetoric; the evolution of a literary taste where gallomania was being substituted by anglo- and germanophilia; the change in the forms of contacts from imitation to stylization in accordance with the formula suggested by Konstantin Batyushkov ‘The stranger’s treasure is mine.’
5
Holquist, M. "The Last European: Erich Auerbach as Precursor in the History of Cultural Criticism." Modern Language Quarterly 54, no. 3 (January 1, 1993): 371–91. http://dx.doi.org/10.1215/00267929-54-3-371.
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Corredor, Eva L. "Book Review: A History of Modern Criticism: 1750-1950, Volume 7: German, Russian, and Eastern European Criticism, 1900-1950." Philosophy and Literature 20, no. 1 (1996): 259–60. http://dx.doi.org/10.1353/phl.1996.0030.
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Shepherd, David, and Rene Wellek. "A History of Modern Criticism: 1750-1950. Vol. VII: German, Russian, and Eastern European Criticism, 1900-1950." Modern Language Review 88, no. 4 (October 1993): 1045. http://dx.doi.org/10.2307/3734527.
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Homberg, Mauricio, and Jens Ivo Engels. "Corruption Debates in the First Portuguese Republic 1910-1926." Revista Portuguesa de História 53 (September 27, 2022): 79–96. http://dx.doi.org/10.14195/0870-4147_53_4.
Повний текст джерелаАнотація:
This paper deals with corruption debates as a political factor in the First Portuguese Republic. Criticism of corruption is a hitherto hardly considered aspect for understanding the instability of the Republic. Criticism of corruption as a critique of parliamentarism existed in almost all European countries in the first third of the 20th century. This essay offers a systematic examination of corruption debates in Portugal and aims to emphasise the international commonalities. Similar to the rest of Europe, these criticisms contributed to the bad image and destabilisation of the parliamentary system. The essay mainly uses political newspapers and pamphlets as sources. After an assessment of the relevant research literature and a very short section on anticorruption in the late monarchy, we will concentrate on three groups of critics: monarchical Catholic voices, radical republican commentaries, and anarchist left-wing contributions. The aim is to reconstruct patterns of argumentation of the aforementioned political directions that were typical throughout the republican period. We will also take up the alleged connection between cultural backwardness and corruption in the Portuguese self-description. In the last section, we will shortly focus on the (almost non-existent) defence strategies of the ruling Republicans.
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Mumovic, Ana M. "DAM ON THE GREAT RUSSIAN SEA (Contribution to the interpretation of the Review of the History of Serbian Literature by A. N. Pipin)." Folia linguistica et litteraria XII, no. 35 (2021): 117–36. http://dx.doi.org/10.31902/fll.35.2021.6.
Повний текст джерелаАнотація:
The paper aims is to present and evaluate the Review the History of Serbian Literature A. N. Pipin's as a classical history of Serbian literature that became part of the national culture. The development of the history of literature among Serbs, as an independent discipline and its modest beginnings, can be found in the first decades of the 19th century, in the time of Dositej and Vuk. In its beginnings, the history of literature was a "story" about the literary past of a nation and at its core was - criticism. This main idea as an axiom is a signpost that leads from the history of literature, which has long performed the function of criticism, to the genesis of literary criticism as the youngest branch of literary science and the way it formulated and exercised its functions in conditions when literary history was in a certain measures and history of the people. The Serbs received the first History of Serbian Literature (1865) from the pen of Pavel Jozef Šafarik (1795–1861), a Protestant and German student who served in Novi Sad. The next history of Serbian literature was also written by a foreigner, the Russian Alexander Nikolaevich Pipina (1833–1904). His Review the History of Serbian Literature (1865) has not been fully translated into Serbian. When marking questions from the new Serbian literature, Pipin's approach leads to a synthesis of ideas about cultural and political and national development. Slavery replaced the idea of revival "among Orthodox Serbs who fled to Austria". From that perspective, he views the development of national literature as an important part of culture and identity. Pipin also deals with the issue of national identity and the awakening of the national consciousness of the Slavs in his extensive study "Panslavism in the Past and Present" (1878), in which "the Serbian national question is incorporated into the general critique of Russian official policy and Slavophile orientation in the Balkans during Eastern Europe crisis". In this paper, we value his competence, cultural mission, the gift of the comparator, without which there is no great literary historian, and his practical contribution to classifying Serbian literature and culture in the European context.
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Cinpoeş, Nicoleta. "From New to Neo-Europe: Titus redivivus." Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 1 (May 22, 2018): 214–30. http://dx.doi.org/10.1177/0184767818775904.
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The ‘dramatic rise’ of Titus Andronicus ‘among critics and directors’ in the 1990s was primarily linked to ‘the growth of feminist Shakespeare criticism’.1 Its recent stage popularity, however, lies in its responses to the new geopolitical realities and the shifting physical and mental borders of the European Union. This article examines four European productions of Titus Andronicus in their engagement with political change, migration, rising nationalism and xenophobia, which, I argue, refocus attention onto this play’s position in the Shakespeare canon.
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Simon-Shoshan, Moshe. "Between Philology and Foucault: New Syntheses in Contemporary Mishnah Studies." AJS Review 32, no. 2 (November 2008): 251–62. http://dx.doi.org/10.1017/s0364009408000111.
Повний текст джерелаАнотація:
The work of many emerging young rabbinics scholars today, particularly that which is focused on the Mishnah, is animated by a desire to synthesize two distinct approaches to rabbinic texts. One is the traditional philological-historical approach, which traces its roots back to the European Wissenschaft des Judentums tradition of the nineteenth and early twentieth centuries. In its current form, traditional Talmud criticism is perhaps most associated in Israel with the work of J. N. Epstein, the founder of the Hebrew University Talmud Department and the “father of exact scientific Talmudic inquiry.” While most of Epstein's students proceeded to shape the study of rabbinic literature in the Israeli academy, Saul Lieberman, perhaps his most distinguished disciple, moved to America, where his presence dominated the study of rabbinic literature at the Jewish Theological Seminary in the postwar decades. Traditional Talmud criticism is characterized by a scrupulous attention to manuscripts and textual variants, a systematic use of the findings of Semitic and comparative linguistics, and the use of form and source criticism to determine the history and development of larger textual units.
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Mihailova, Antoaneta, and Kalina Minkova. "RECEPTION OF THE FOREIGNNESS – MIGRANT LITERATURE AS CULTURAL TRANSFER." Ezikov Svyat volume 18 issue 2, ezs.swu.v18i2 (June 30, 2020): 97–104. http://dx.doi.org/10.37708/ezs.swu.bg.v18i2.13.
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The article reviews the distinction between emigrant, immigrant and migrant literature from the perspective of the contemporary Bulgarian literary criticism. The body of emigrant literature is regarded as comprising the works of nineteenthcentury Bulgarian authors (Rakovski, Karavelov, Vazov) who wrote in Bulgarian and intended their works for the Bulgarian readership. The works from the first half of the twentieth century, written in Bulgarian by Bulgarian authors living mostly in Germany and France, are perceived as part of the Bulgarian literature from this period on the grounds of their engaging with themes recognized as characteristically Bulgarian (Elisaveta Bagryana, Pencho Slaveykov, Kiril Hristov, Svetoslav Minkov etc.). The Bulgarian intellectuals who moved to Western Europe in three immigrant waves after 1944, however, wrote in the language of the country in which they settled. This is the reason why Bulgarian literary criticism did not acknowledge their works as part of Bulgarian literature. The authors this article deals with – Ilija Trojanov, Dimitre Dinev and Tzveta Sofronieva – do not deny their Bulgarian origins. They have chosen to write in German in order to be understood by readers in their new country. The German-speaking readership regards them as mediators between Bulgarian history, traditions and culture and the German, respectively Austrian, society precisely because they have rendered Bulgarians and the Bulgarian past in a language that is easy to understand. The interest in Bulgarian authors writing in languages other than Bulgarian in Western Europe peaked in the years immediately preceding and following Bulgaria’s accession to the European Union as the Western European citizens wanted to find out more about the new country in the Union. With their established reputation as eminent artists, these authors continue to cast a bridge between the two cultures. Their works keep being translated into many different languages and have won prestigious international awards.
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Novoseltseva, A. V. "A novel study: history and modernity." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 64, no. 2 (May 18, 2019): 200–208. http://dx.doi.org/10.29235/2524-2369-2019-64-2-200-208.
Повний текст джерелаАнотація:
There is the necessity in the contemporary science of literature for development of the intra-genre novel typology to systematize the knowledge of certain novel texts and determine the aesthetic possibilities of the modern novel. Traditionally the genre novel typology is considered in social-historical way and based on its content characteristics. Representatives of formalistic approach suppose the genre as a system of methods; they emphasize the artistic uniqueness of new novel form, which determines the specificity of the plot development and theme disclosure in a novel. G. N. Pospelov associates the interpretation of characters with the plot-composition peculiarities, M. M. Bakhtin formulates the idea of dialogue, defines the monologic and polyphonic novels. Bakhtin’s novel theory is developed by N. A. Verderevskaya, focusing on the image structure of protagonist. A. Ya. Esalnek considers the genre of a novel in close interconnection between the method and style of the author. N. S. Leites carries on the tradition of formalistic approach, and according to the type of plot formation, singles out a novel of direct and indirect reflection. N. D. Tamarchenko retraces the novel evolution through its aesthetic potential in the works of famous authors. The classifications developed in Western European literary criticism (the Anglo-American school of “neo criticism”, the German school of “interpretation”) are distinguished with dualism or variability. They focus on the structural organization, the artistic relationship between the author and narrator, author and character.
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Zaki, Vevian. "The “Egyptian Vulgate” in Europe: An Investigation into the Version that Shaped European Scholarship on the Arabic Bible." Collectanea Christiana Orientalia 18 (July 21, 2021): 237–59. http://dx.doi.org/10.21071/cco.v18i0.1198.
Повний текст джерелаАнотація:
This paper explores part of the history of those Arabic Bible manuscripts that traveled to Europe in the early modern period, focusing on Arabic manuscripts of the Pauline Epistles. These manuscripts played an important role in European scholarship about the Arabic Bible, Arabic teaching and learning in Europe, and textual criticism. When one looks at early European scholarship on the Pauline Epistles in Arabic in the 16th and 17th centuries, it is very noticeable that, by and large, it restricted itself to an examination of a single version. In this paper, I reconstruct the history of the three earliest manuscripts of this version to be studied in European scholarship: MS Vatican, Biblioteca Apostolica Vaticana, Ar. 23; MS Leiden, Universitaire Bibliotheken Leiden, Or. 217; and MS Leiden, Universitaire Bibliotheken Leiden, Acad. 2. By tracing the history, I analyze the impact of this version, and it becomes clear how this version became, for a while, a standard version, what we might call the “Vulgate” of the Arabic Bible in Europe.
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Zaki, Vevian. "The “Egyptian Vulgate” in Europe: An Investigation into the Version that Shaped European Scholarship on the Arabic Bible." Collectanea Christiana Orientalia 18 (July 21, 2021): 237–59. http://dx.doi.org/10.21071/cco.v18i.14418.
Повний текст джерелаАнотація:
This paper explores part of the history of those Arabic Bible manuscripts that traveled to Europe in the early modern period, focusing on Arabic manuscripts of the Pauline Epistles. These manuscripts played an important role in European scholarship about the Arabic Bible, Arabic teaching and learning in Europe, and textual criticism. When one looks at early European scholarship on the Pauline Epistles in Arabic in the 16th and 17th centuries, it is very noticeable that, by and large, it restricted itself to an examination of a single version. In this paper, I reconstruct the history of the three earliest manuscripts of this version to be studied in European scholarship: MS Vatican, Biblioteca Apostolica Vaticana, Ar. 23; MS Leiden, Universitaire Bibliotheken Leiden, Or. 217; and MS Leiden, Universitaire Bibliotheken Leiden, Acad. 2. By tracing the history, I analyze the impact of this version, and it becomes clear how this version became, for a while, a standard version, what we might call the “Vulgate” of the Arabic Bible in Europe.
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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.
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Torstendahl, R. "TELLING HISTORIES OR ACCOUNTING FOR ASPECTS OF THE PAST: A HISTORIOGRAPHICAL CHOICE IN A EUROPEAN HISTORICAL PERSPECTIVE." Uchenye Zapiski Kazanskogo Universiteta. Seriya Gumanitarnye Nauki 163, no. 3 (2021): 9–20. http://dx.doi.org/10.26907/2541-7738.2021.3.9-20.
Повний текст джерелаАнотація:
The article departs from the difference between two types of historical writings, one narrating stories about actors and the other trying to bring about evidence that justify claims to know certain things about specific aspects of the past. From the Iliad and the Odyssey, telling stories have been a common way of presenting past events. Inscriptions and annals, as well as graves and monuments, urged to present posterity with evidence for acts and occurrences. Storytelling was always more popular than searching for evidence. In the 19th century, historians began to systematise their doubts about the truth of many stories. This source criticism has been refuted by many “historical theorists” in the late 20th and the early 21st centuries with the argument that claims that it is impossible to bring truth about the past and that all history is to be regarded as a kind of literature with, at best, symbolic “truth”. I want to reject this standpoint as based only on an internal “theory of history”-discourse and ask for analyses of actual historical research, which claims to produce new historical knowledge.
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Vasic, Aleksandar. "Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century as a subject of musicology research." Muzikologija, no. 6 (2006): 317–42. http://dx.doi.org/10.2298/muz0606317v.
Повний текст джерелаАнотація:
The beginning of 2006 marked two decades since the death of Stana Djuric-Klajn, the first historian of Serbian musical literature. This is the exterior motive for presenting a summary of the state and results of up-to-date musicology research into Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century, alongside the many works dedicated to this branch of national musical history, recently published. In this way the reader is given a detailed background of these studies ? mainly the authors' names, books, studies, articles, as well as the problems of this branch of Serbian musicology. The first research is associated with the early years of the XXth century, that is, to the work of bibliography. The pioneer of Serbian ethnomusicology, Vladimir R. Djordjevic composed An Essay of the Serbian Musical Bibliography until 1914, noting selected XIXth century examples of Serbian literature on music. Bibliographic research was continued by various institutions and experts during the second half of the XXth century: in Zagreb (today Republic of Croatia); the Yugoslav Institute for Lexicography, Novi Sad (Matica srpska); and Belgrade (Institute for Literature and Art, Slobodan Turlakov, Ljubica Djordjevic, Stanisa Vojinovic etc). In spite of the efforts of these institutions and individuals, a complete analytic bibliography of music in Serbian print of the last two centuries has unfortunately still not been made. The most important contributions to historical research, interpretation and validation of Serbian musical criticism and essay writings were given by Stana Djuric-Klajn, Dr Roksanda Pejovic and Dr Slobodan Turlakov. Professor Stana Djuric-Klajn was the first Serbian musicologist to work in this field of Serbian music history. She wrote a significant number of studies and articles dedicated to Serbian musical writers and published their selected readings. Prof. Klajn is the author and editor of the first and only anthology of Serbian musical essay writings. Her student Roksanda Pejovic published two books (along with numerous other factually abundant contributions), where she synthetically presented the history of Serbian criticism and essay writings from 1825 to 1941. Slobodan Turlakov, an expert in Serbian criticism between the World Wars, meritorious researcher and original interpreter, especially examined the reception of music of great European composers (W. A. Mozart, L. v. Beethoven, F. Chopin, G. Verdi, G. Puccini etc) by Serbian musical critics. Serbian musical criticism and essay writings were also the focus of attention of many other writers. The work quotes comments and additions of other musicologists, but also historians of theatre, literature and art philosophers, aestheticians, sociologists, all members of different generations, who worked or still work on the history of the Serbian musical criticism and essay writings. The closing section of the text suggests directions for future research. Firstly, it is necessary to begin integral bibliographical research of texts about music published in our press during the cited period. That is a project of capital significance for national science and culture; realization needs adequate funding, the involvement of many academic experts, and time. Work on bibliography will also enable the collection and publication of sources: books and articles by Serbian music writers who worked before 1945. A separate problem is education of scholars. To study musical literature, a musicologist needs to be knowledgeable about the history of Serbian literature, aesthetic theory, and theatre, national social, political and cultural history, and methodology of literary study. That is why facilities for postgraduate and doctorial studies in musicology are necessary at the Faculties of Philology and Philosophy.
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Tychinina, Alyona. "The Interconnections between the Czech Methodological Platform and the Ideas of Modern Ukrainian Literature Studies." Pitannâ lìteraturoznavstva, no. 102 (December 28, 2020): 195–221. http://dx.doi.org/10.31861/pytlit2020.102.195.
Повний текст джерелаАнотація:
The article under studies identifies the methodological ties between modern Czech and Ukrainian literary studies on the example of Ivo Pospišil’s monograph “Methodology and Theory of Literary Slavic Studies and Central Europe” (2015). The methodological platform of the scientist is shown in dynamics: comparative studies, phenomenology, historical poetics, genre studies and areal studies. Areal (spatial) philology becomes the methodological framework and “cognitive tool” in the above work. Within the specific features of the hermeneutic circle, I. Pospišil outlines the methodological principles of Brno areal studies, as well as substantiates the powers of areal methodology. Hence, by means of deduction, he narrows the areas of its application and eventually connects spatial poetics to the analysis of specific texts of modern Czech literature. In this respect, areal studies are consonant with the methodology of the N. Kopystyanska’s scientific school. From the standpoint of literary axiology, I. Pospišil characterizes the literary process of 1960–1970 in the way that coincides with the ideas of D. Zatonsky and T. Hundorova. The interpretation of the tropical nature of allegory and symbol, within the areal issues, resonates with a number of Ukrainian investigations. I. Pospišil’s speculations on the problem of auto-reflection and auto-axiology of creativity is based mainly on the concepts of O. Potebnja, on whose methodological reputation rely the works of most Ukrainian researchers. The phenomenon of Central Europe is regarded in the context of “Central European centrism” and multiculturalism, which conceptually brings the scientific research closer to the American studies by N. Vysotska and T. Denysova. I. Pospišil emphasizes the influence of Central European university traditions of the first half of the XX century on the formation of the Prague Linguistic Circle, as well as on the scientific growth of F. Wallman, S. Vilinsky, R Jacobson and R. Wellek. The concept of the history of Russian literature, proposed by I. Pospišil, leads to the profound analysis of the scientific figure of D. Chyzhevsky, which is being widely studied in Ukraine. It is concluded that the “methodological balance” of Czech and Ukrainian literary criticism is ensured by common “pendulum movements” in the history of the literary process, common theoretical and literary basis (works by O. Potebnja, M. Bakhtin, D. Chyzhevsky, D. Ďurišin), parallel influences of Western European literary criticism, as well as collective conference events and consensual research optics.
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Nevers, Jeppe. "The Rise of Danish Agrarian Liberalism." Contributions to the History of Concepts 8, no. 2 (December 1, 2013): 96–105. http://dx.doi.org/10.3167/choc.2013.080206.
Повний текст джерелаАнотація:
In the literature on European history, World War I and the interwar years are often portrayed as the end of the age of liberalism. The crisis of liberalism dates back to the nineteenth century, but a er the Great War, criticism of liberalism intensified. But the interwar period also saw a number of attempts to redefine the concept. This article focuses on the Danish case of this European phenomenon. It shows how a profound crisis of bourgeois liberalism in the late nineteenth century le the concept of liberalism almost deserted in the first decades of the twentieth century, and how strong state regulation of the Danish economy during World War I was crucial for an ideologization of the rural population and their subsequent orientation toward the concept of liberalism.
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Franek, Ladislav. "L’essence éthique du dialogue culturel." Interlitteraria 25, no. 2 (December 31, 2020): 298–309. http://dx.doi.org/10.12697/il.2020.25.2.3.
Повний текст джерелаАнотація:
The ethical essence of cultural dialogue. The definition of comparative literary studies in Slovakia. Historical poetics in the works of D. Ďurišin, focused on the typological essence of literary phenomena on the basis of interrelating theoretical and developmental aspects of national literature. The differences of Slovak methodology from Western positivist models of the study of interliterariness. Parallel existence of the principles of literary history and criticism in the reception analyses of Russian, German and French literatures by older Slovak scholars. The onset of realism in Slovak literature at the end of the 19th century (S. Hurban Vajanský). The important contribution of J. Felix’s critical reflection of universalist tendencies in European and esp. modern French writing. The complexity of organically incorporating these impulses into the context of Slovak literature as a result of the provincial character of a “small” nation. The wealth of translations from contemporary world literatures and its positive impact on the work of many Slovak writers in spite of the discontinuity of research in this area after 1989. Urgent need to return to similar forms of literary-cultural reflection and self-reflection through reviving an intensive philological, linguistic, theoretical-critical and historical study at our universities.
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Franek, Ladislav. "L’essence éthique du dialogue culturel." Interlitteraria 25, no. 2 (December 31, 2020): 298–309. http://dx.doi.org/10.12697/il.2020.25.2.3.
Повний текст джерелаАнотація:
The ethical essence of cultural dialogue. The definition of comparative literary studies in Slovakia. Historical poetics in the works of D. Ďurišin, focused on the typological essence of literary phenomena on the basis of interrelating theoretical and developmental aspects of national literature. The differences of Slovak methodology from Western positivist models of the study of interliterariness. Parallel existence of the principles of literary history and criticism in the reception analyses of Russian, German and French literatures by older Slovak scholars. The onset of realism in Slovak literature at the end of the 19th century (S. Hurban Vajanský). The important contribution of J. Felix’s critical reflection of universalist tendencies in European and esp. modern French writing. The complexity of organically incorporating these impulses into the context of Slovak literature as a result of the provincial character of a “small” nation. The wealth of translations from contemporary world literatures and its positive impact on the work of many Slovak writers in spite of the discontinuity of research in this area after 1989. Urgent need to return to similar forms of literary-cultural reflection and self-reflection through reviving an intensive philological, linguistic, theoretical-critical and historical study at our universities.
23
Alfaisal, Haifa S. "The Politics of Literary Value in Early Modernist Arabic Comparative Literary Criticism." Journal of Arabic Literature 50, no. 3-4 (November 11, 2019): 251–77. http://dx.doi.org/10.1163/1570064x-12341387.
Повний текст джерелаАнотація:
Abstract The modernist epistemic disconnect from the “medieval Islamic republic of letters,” Muhsin al-Musawi argues, is attributable both to the incursion of Enlightenment-infused European discourse and a failure to read the import of the republic’s significant cultural capital. This article explores the effects of Eurocentric incursions on transformations in literary value in two of the earliest known works of comparative Arabic literary criticism: Rūḥī al-Khālidī’s Tārīkh ʿilm al-adab ʿind al-ifranj wa-l-ʿarab wa-fiktūr hūkū (The History of the Science of Literature of the Franks, the Arabs, and Victor Hugo, 1902) and Aḥmad Ḍayf’s Muqaddimah li-dirāsat balāghat al-ʿarab (Introduction to the Study of Arab balāghah, 1921). I employ the various theoretical formulations of the decolonial school of thought, primarily Walter Mignolo’s coloniality/modernity complex, in tracing these epistemological shifts in literary value and focus on the internalization of Eurocentric critiques of Arabic literary capital. I also discuss the politics involved in such processes, presenting a decolonial perspective on these modernists’ engagement with their Arabic critical heritage.
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BANDIER, NORBERT. "Avant-gardes in the First Half of the Twentieth Century: New Perspectives." Contemporary European History 14, no. 3 (August 2005): 391–402. http://dx.doi.org/10.1017/s0960777305002511.
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The time has come for researchers into innovative movements in art and literature in the first half of the twentieth century to break free from traditional investigative frameworks. The works reviewed here belong to different disciplines – art history, literary history, literary criticism, history – but all show a shift of perspectives in the history of culture. They point to a reassessment of the theoretical models we use to understand modern art and literature. Those models are – in this case as they relate to the avant-garde – nuanced, refined, developed and sometimes even invalidated. Though some of these works are not wholly devoted to the European avant-gardes, they do deal with the international circulation of modern art in, to or from Europe, studied here in its lesser-known aspects. Moreover, they all to some extent examine the artist’s responsibility to the community, or the state’s responsibility to art. This theme of responsibility runs through all these works, either in its ethical dimension or as an aspect of the social function of art, especially when art has to confront an entertainment culture or is roped in as part of cultural policy.
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Tomczok, Paweł. "Komparatystyka wobec rewolucji przemysłowej." Wielogłos, no. 1 (51) (2022): 71–95. http://dx.doi.org/10.4467/2084395xwi.22.011.16604.
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Comparative Literature and Industrial Revolution This paper presents research on some representations of industrial revolution in literature and in the visual art. The category of anthropocene allows for a deeper insight into environmental aspects of an issue usually looked at from the points of view of the history of technology, economics or civilization as well as consumerism. The analyzed texts of European culture make it possible to notice representations of industrial areas as European hearts of darkness, evoking geographically less remote versions of colonial exploitation. The author stresses the necessity to take into account the opposition between the Crystal Palace and its critics, and the space of industrial output, transcending this opposition. It keeps being a challenge for materialistic cultural criticism, aiming at taking into account the issues of the environment and moving away from a strict separation of nature and society, which is crucial to the modernity. Hence, an important part of this paper is a proposition to redefine the economical theory of value, in order to take into account the value of such objects as raw materials and the energy they contain. Such view of the comparative literature of the anthropocene demands acceptance for the category of the longue durée taken literary: the industrial revolution might have a history of 300 years, but it still lasts and is present in new places on Earth.
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Gikandi, Simon. "ON UTOPIAN THINKING: LITERATURE AND THE IMAGINATION OF THE FUTURE TO COME." Journal of Language and Communication 9, no. 1 (February 14, 2022): 1–10. http://dx.doi.org/10.47836/jlc.9.1.01.
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The concept of utopia, which seems to have lost its conceptual power in the second half of the twentieth century, is increasingly returning to the center of debates on the relationship between literature and social change. Utopian thinking is now seen as a fundamental space for coming to terms with the present age—an age defined by pandemics, environmental destruction, and the threat to the narrative of freedom. But how do we go about rehabilitating utopia—itself a product of the long history of European domination—and make it adaptable to our postcolonial situation? How can the utopic be harnessed as an alternative way of imagining postcolonial futures? And is it capable of restoring idealism as a horizon of our expectations and as a precondition for freedom? Drawing on texts from the discourse of decolonization debates about utopian thinking in works of postcolonial literature and neo-Marxist criticism, my paper will address some of the ways in which the imaginative is asked to sustain the idea of an alternative society in moments of crisis and atrophy.
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Zajas, Paweł. "Kołakowski made by Piper." Zeitschrift für Slawistik 63, no. 4 (November 5, 2018): 591–626. http://dx.doi.org/10.1515/slaw-2018-0040.
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Summary Since the year 1960, a range of works by Polish philosopher Leszek Kołakowski have been published by Piper-Verlag. The paper analyses some so far unknown archival data that offer some insights into the circumstances of their publication. Sections 2 and 3 show how Kołakowski’s German debut (essay collection from 1960 under the title Der Mensch ohne Alternative) may have been influenced by factors that tend to shape the literary field, such as the contemporary cultural and publishing policy and the role played by the intermediaries and translators. The argument provides new insights into the history of ideas that constituted the background of the import of Polish/ East European literature to the FRG from the 1950 s on. Next (section 4), the paper addresses the question as to why the editing conducted on Kołakowski’s work had failed to initiate a more systematic transfer of Eastern European (criticism of) Marxist philosophy to the German publishing market. Moreover (section 5), an attempt is made at a closer characterisation and problematisation of the readings of some themes of Kołakowski’s works by the editor in Piper-Verlag, Hans Rößner, a German philologist and ex-SS officer. In this context, a rhetorical question as to this sort of ideological criticism is posed. Finally, the data presented in the paper bring the following issues to the fore in terms of future research directions: (1) transfer of literature/ knowledge from Poland/ Eastern Europe during the Cold War and (2) the actual part that Eastern Europe played in the “global” conflict of ideas under the label of “1968”.
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Kurnosov, Dmitry. "Resisting Strasbourg to Reassure Moscow: the Recent Story of the Russian Constitutional Court." Russian Politics 9, no. 1 (March 25, 2024): 52–73. http://dx.doi.org/10.30965/24518921-00901003.
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Abstract Russia’s last decade within the European Convention on Human Rights (up to its exit in 2022) was seen by many authors as an emblematic case of state-led resistance to the authority of the European Court of Human Rights in Strasbourg that interprets the Convention. However, they mostly view it from a Strasbourg perspective. This article fills a gap in the literature by adding a perspective of a Russian institution – the country’s Constitutional Court. It argues that it had to walk a fine line by addressing two distinct constituencies – the other state institutions and human rights lawyers. By analysing the case citation patterns, the article claims that the Constitutional Court in practice balanced its public criticism of Strasbourg colleagues by accepting the authority of their judgments.
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Orekhov, Vladimir V. "Background of Russian Imagology: Tradition as an Indication of Target." Imagologiya i komparativistika, no. 14 (2020): 143–67. http://dx.doi.org/10.17223/24099554/14/7.
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Focusing on the history of Russian imagology, the article aims at identifying the origins of the imagological interests in research and public thought in Russia in the first and second thirds of the 20th century as well as research approaches of that time that may be required by modern imagology. This analytical insight arises from the endeavor of contemporary scholars to update and develop the imagology paradigm. The Patriotic War of 1812 and the entry of Russian troops into Paris in 1814 gave a powerful impulse to the imagological interests in Russian society. These events highlighted the irrational nature of European stereotypes and provided an opportunity for the Russian intellectual elite to observe how the European image of Russia evolves depending on the historical situation, which, in its turn, induced the Russians to collect and conceptualise the information about the image of Russia in European texts of different epochs. The Rossica Department in the Imperial Public Library was opened for the scholars to do bibliographic research of foreign publications about Russia. Commenting foreign essays about Russia was an important part of Russian academic and journalistic activity. Such publications regularly appeared in Syn Otechestva, Otechestvennye zapiski, Severnyy Arkhiv, Sovremennik, Biblioteka dlya chteniya, Russkiy vestnik, and Zhurnal Ministerstva narodnogo prosveshcheniya. The first imagological research proper was V.A. Klyuchevsky’s Skazaniya inostrantsev o Moskovskom gosudarstve [Legends of Foreigners about the Moscow State, 1866]. Without a critical analysis of foreign sources, the historian uses excerpts from different foreign texts to reconstruct an integral image of the Moscow state in the European consciousness. Although the first Russian imagological researches appeared in history, they laid the basis for the development of literary criticism. The book collection “Rossica” allowed Russian and foreign scholars (M.P. Alekseev, B.L. Modzalevsky, E.V. Tarle, M. Kadot) to study the Western literary opinion about Russia. Yu.M. Lotman relied on the imagological observations made by V.A. Klyuchevsky and his followers. Methodology of Soviet imagological research in literary criticism (M.P. Alekseev, B.G. Reizov, A.K. Vinogradov) was guided by the principles of history. These facts give grounds to speak about the formation of the Russian tradition of imagological researches, which has two characteristics: 1) following the principle of historicity and 2) focus on the functioning of the image of Russia in European literature of different epochs. In this context, it seems relevant for the Russian imagological works to focus on the phenomenon of “reverse reception” in Russian literature of the 19th century, that is on the Russian writers’ endeavor to comprehend the European image of Russia (to create a “meta-image”) and to oppose this image with their own holistic idea of Russia and its national features.
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Tabor, Joanna. "The History of Lithuanian Literature According to Ričardas Gavelis." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 99–107. http://dx.doi.org/10.37384/aplkp.2020.25.099.
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Ričardas Gavelis’s (1950–2002) prose contains many cultural references, including the names of famous European writers, thinkers and philosophers, such as Camus, Kafka, Beckett, Schopenhauer, Nietzsche, or Orwell. Characters of Gavelis’s novels think about these authors, discuss their texts and ideas with others, but also write letters to them, contact them telepathically or even… physically. A few Lithuanian authors’ names can be found there as well. Hence, the aim of this article is to have a closer look at those names and the context in which they appear. I am going to analyze first three novels written by Gavelis: “Vilnius Poker” (Vilniaus Pokeris, 1989), “Memoirs of a Life Cut Short” (Jauno žmogaus memuarai, 1991) and “Vilnius Jazz” (Vilniaus džiazas, 1993), as they depict the same literary vision. Lithuanian authors that are mentioned in these novels include, among others, such significant figures of Lithuanian culture as Vincas Mykolaitis-Putinas (in “Memoirs of a Life Cut Short”), a writer, a poet, and a university professor, or Justinas Marcinkevičius, considered to be „the only one real Lithuanian poet” (in “Vilnius Poker”). The characters of Gavelis’s novels criticize Lithuanian literature for propagating the stereotype of the „Lithuanian spirit” – lyrical, sentimental, experiencing deep emotions but not thinking, soft, introvert and passive, hermetic and closed in its own circle. The authors such as Camus, Kafka, Orwell, Beckett, Russell, Schopenhauer, Nietzsche, and Ortega y Gasset – thinkers, innovators, precursors – add the European context to this picture. Their presence shows us what Gavelis’s characters (and probably Gavelis himself) require from literature. The model claimed as typical for Lithuania does not cover their intellectual needs. It is also considered dangerous because it creates a picture of Lithuanian mentality as soft, submissive and easy to control.
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Brenner, Rachel Feldhay. "Between Identity and Anonymity: Art and History in Aharon Megged's Foiglman." AJS Review 20, no. 2 (November 1995): 359–77. http://dx.doi.org/10.1017/s036400940000698x.
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In a recent article, “Israeli Literature Over Time,”Aharon Megged describes his work as “unremittingly concerned with burning national issues,” mainly with the issue of Israel′s relationship to the Diaspora.1 Megged′s intense preoccupation with the Zionist ideology of the negation of the Diaspora emerged in his 1955 story “Yad va-shem” (“The Name”). The story presents a scathing criticism of Israel′s dissociation from the history of the Diaspora and especially from the catastrophe of the Holocaust. “Yad va-shem” was followed by an article entitled “Tarbutenu ha-yeshana ve-ha-hadasha” (“Our Old and New Culture”) in which Megged deplored Israel′s severance of its Diaspora roots and urged a reexamination of the negative attitude toward the destroyed European Jewish culture.In 1984, Megged published Massa ha-yeladim el ha-aretz ha-muvtachat (“The Children's Journey”), a novel based on a true story about a group of young survivors of the Holocaust on their way to Palestine.3 This work, as Dan Laor notes in his review, “offers a perspective of the Diaspora in the Holocaust which differs from [the typical Israeli attitude of] contempt infused with pity” toward the Diaspora Jew.
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Brandes, Georg, and Lynn R. Wilkinson. "The 1872 Introduction to Hovedstr⊘mninger i det 19de Aarhundredes Litteratur (Main Currents of Nineteenth-Century Literature)." PMLA/Publications of the Modern Language Association of America 132, no. 3 (May 2017): 696–705. http://dx.doi.org/10.1632/pmla.2017.132.3.696.
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From Comparative Literature to Cultural Renewal: Georg Brandes's 1872 Introduction to Main Currents of Nineteenth-Century Literature“The only literature that is alive today is one that provokes debate.” These words ring out in the first published version of a lecture Georg Brandes gave at the University of Copenhagen on 3 November 1871. The lecture was the introduction to a series that changed the course not only of his life but also of Scandinavian and European cultural history. Born in Copenhagen in 1842 to assimilated Jewish parents, Brandes had recently completed a dissertation on French aesthetics and literary criticism and hoped that his lecture series would allow him to replace Carsten Hauch as professor of aesthetics at the university. Brilliant and iconoclastic, the lectures also responded to the Danish defeat in the 1864 war with Prussia, portraying Danish literature and culture as morbidly inward and insular. Brandes urged his countrymen to look abroad, to traditions such as the French, whose literature included many notable writers who grappled with social and political issues, especially those who came of age during the revolutions of 1789 and 1830.
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Ghasemzadeh, Seyyed Rohallah. "The Economic and Legal Bases of the Development Risk Defence in European Product Liability: A Critical Approach to Proponents Bases of the Defence." European Review of Private Law 27, Issue 5 (October 1, 2019): 1023–50. http://dx.doi.org/10.54648/erpl2019056.
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Incorporating the development risks defence (DRD) into Product Liability Directive 85/374/EEC has been the most controversial issue in product liability debates. Although it is possible for the Member States to derogate from the DRD, only Finland and Luxemburg apply development risk derogation set out in Article 15 §1(b) of the Directive to all products. This derogation is partially applied in France, Spain and Hungry. Aside from providing an introduction to history of the divergences on DRD at national and supranational levels, this paper analyses economic and legal bases of proponent of this defence and critically makes separate analysis about them. Overall, economic and legal views of the opponents refer to bases that specially manifest themselves in academic literature and the legislative, economic, political debates. With reference to the European literature and debates, this paper attempts to elaborate that the DRD is not only an economic and legal issue but also social and political one. Regarding to these diffused bases, it is possible to conclude that the arguments put forward in favour of maintaining the DRD are susceptible to criticism.
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Kachorovskaya, A. E. "On the Reception of the Myth of Prometheus in Austrian Literature of 19th-20th Centuries." Nauchnyi dialog, no. 3 (March 30, 2020): 221–35. http://dx.doi.org/10.24224/2227-1295-2020-3-221-235.
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This article focuses its attention on the motive of resistance characteristic of Austrian literature of the 19th - 20th centuries, which is considered from the point of view of the historical and literary relationship with the myth of Prometheus. The history of the issue is reviewed. A selective analysis of the versions of the Promethean myth in the Austrian historical and literary context of the 19th-20th centuries, which is part of the pan-European literary and philosophical heritage, is given. The stylistic and genre originality of Austrian interpretations of the myth of Prometheus is proved on the basis of a study of a number of works. The artistic reception of the image of Prometheus in the poem by Z. Lipiner "Liberated Prometheus", little studied in Russian literary criticism is considered in the article. Attention is paid to the version of the Promethean myth in the literature of Austrian Art Nouveau (on the example of F. Kafka's little prose). The issue of conflicting trends in the development of Austrian literature of the 20th century, affecting the interaction of the motive of resistance with the Promethean myth, is investigated by the example of M. Gruber's essay. The correlation of the Austrian versions of the motive of resistance with the myth of Prometheus is proved. The results of the study confirm the significance of the Promethean myth in the Austrian reception of the 19th-20th centuries, which has more pronounced features of drama and theatricality in relation to the European context.
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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.
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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.
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Никонова, Н. Е. "РЕЦЕНЗИЯ НА НАУЧНУЮ МОНОГРАФИЮ О.Б. КАФАНОВОЙ «ПЕРЕВОДЫ Н.М. КАРАМЗИНА КАК КУЛЬТУРНЫЙ УНИВЕРСУМ». СПБ.: АЛЕТЕЙЯ, 2020. 356 с., ил." Tekst. Kniga. Knigoizdanie, № 27 (2021): 164–70. http://dx.doi.org/10.17223/23062061/27/10.
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The review notes Olga Kafanova’s great contribution to the study of the history of Russian literature, and especially works by Nikolai Karamzin, and productivity of her research as evidenced by the presented monograph. The book excels in its fundamental nature, novelty and reliability of the source base (more than 500 items of the bibliography of translations by Karamzin (1783–1800) and originals discovered while studying foreign works and periodicals). The review indicates the novelty and prospects of a number of Kafanova’s observations. In 2016, the public celebrated the 250th anniversary of Karamzin’s birth. The jubilee events were held in several countries and brought together dozens of scholars. One of the particular results of these events is an observation on the need for a comprehensive understanding of the work of Karamzin as a translator at a new level. The reviewed monograph promptly fills the noted gap and, using unique material, solves the problem of popularizing and preserving the Russian literary classics. The bibliography presented in the form of an appendix contains names of more than 50 authors of English, German, and French literature, whose texts Karamzin referred to. Based on the compiled corpus, Kafanova chooses an analytical approach that consistently reflects the evolution of Karamzin’s own system of views, on the one hand, and is based on the classic examples of Russian literary criticism and translation studies, on the other. Kafanova’s genre-generic approach easily synthesizes the several dimensions of the literary, editorial and institutional activities of Karamzin as a translator; there is no criticism of the clear definitions that classify Karamzin’s work on mastering the texts of foreign authors to one type or another. Another idea in the book is connected with a fundamental approach in the science of literature, according to which the history of literary processes is considered as a series of successive trends and directions of humanitarian thought. The reviewed book tells about the nuances of the era of pre-Romanticism, about the intricacies of interpreting Stern’s “sentimental stories of a sensitive heroine”, about the “portrait” project associated with “sensitive authors” (Wieland, Gesner, Klopstock, and others), and about the peculiarities of the Enlightenment and European Antiquity in the pantheon of literature by Karamzin and his contemporaries.
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Bogomolova, Anna V. "“World Literature” and Communication: Literary Connections, Reading Practices." Imagologiya i komparativistika, no. 16 (2021): 7–28. http://dx.doi.org/10.17223/24099554/16/1.
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The article focuses on the communicative aspect of “world literature”. Covering the history of the idea from Goethe’s concept to the modern criticism of “world literature”, the author analyses four episodes which are significant in terms of changes in the communicative environment. Initially, the idea shaped within the emerging bourgeois culture and transition from intensive to extensive type of secular reading and developing book industry in Europe. According to Goethe, the establishment of a close relationship between nations and eras through literature, the cosmopolitan community of writers and their close creative communication were a source of internationalization and unity of literature. The ideas of capitalist cultural expansion were introduced by Karl Marx and Friedrich Engels within the theory of materialism. Litera ture was thought of as spiritual production, which was the object of capitalist relations and depended on the economic system. Marx associated the creation of “world literature” with the influence of the global market, rather than with the voluntary activities of the enlightened bourgeoisie and aristocracy (implied by Goethe). The communicative aspect of “world literature” was not considered a positive phenomenon and a factor in the overall cultural development. The Soviet project of “world literature” supported literary communication. The project to create the Soviet canon of “world literature” combined Goethe’s thesis about the need to look back at the literary past and present of other nations with political tasks and propaganda of the Marxist views. Literature per se had a utilitarian function and was seen as an instrument of primarily ideological struggle. Modern Western theories and practices of “world literature” seek to destroy the old canon dominated by English and West European literature to implement a project of “world literature” aimed at the inclusion of literatures of smaller European, Oriental, and Asian countries. In the vein of pragmatism of American comparativists, translation is an intermediary for a more balanced canon, which inevitably increases dependence on the English language. Critics of globalization viewed “world literature” publishing projects as a commodification of literature through a convenient and easily digestible canon. Proceeding from a critical view of the current state of discipline, most researchers have to acknowledge that real practices and approaches to “world literature” have not reached Goethean utopian ideal of cosmopolitan project for the development of international communication within the humanitarian field in the era of globalization. Scholars are primarily concerned about whether it is possible to build an area of study of world literatures that would recognize the plurality of national literatures and include them without eliminating regional features, so that emerging identities would not be appropriated by global uniformity. Therefore, the translation and cultural policy of transmitting and receiving texts are the most important issues in the framework of rethinking the idea of “world literature”.
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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.
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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.
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Wuntu, Ceisy Nita. "JAMES FENIMORE COOPER AND THE IDEA OF ENVIRONMENTAL CONSERVATION IN THE LEATHERSTOCKING TALES (1823-1841)." Rubikon : Journal of Transnational American Studies 1, no. 2 (September 1, 2014): 25. http://dx.doi.org/10.22146/rubikon.v1i2.34218.
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The spirit to respect the rights of all living environment in literature that was found in the 1970s in William Rueckert’s works was considered as the emergence of the new criticism in literature, ecocriticism, which brought the efforts to trace the spirit in works of literature. Works arose after the 1840s written by Ralph Waldo Emerson, Henry David Thoreau, and Margareth Fuller, the American transcendentalists, are considered to be the first works presenting the respect for the living environment as claimed by Peter Barry. James Fenimore Cooper’s reputation in American literary history appeared because of his role in leading American literature into its identity. Among his works, The Leatherstocking Tales mostly attracted European readers’ attention when he successfully applied American issues. The major issue in the work is the spirit of the immigrants to dominate flora, fauna and human beings as was experienced by the indigenous people. Applying ecocriticism theory in doing the analysis, it has been found that Cooper’s works particularly his The Leatherstocking Tales (1823-1841) present Cooper’s great concern for the sustainable life. He shows that compassion, respect, wisdom, and justice are the essential aspects in preserving nature that meet the main concern of ecocriticism and hence the works that preceded the transcendentalists’ work places themselves as the embryo of ecocriticism in America.Keywords: Ecocriticism, James Fenimore Cooper, The Leatherstocking Tales, living environment, sustainable life
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Barendse, R. J. "Shipbuilding in Seventeenth-Century Western India." Itinerario 19, no. 3 (November 1995): 175–95. http://dx.doi.org/10.1017/s0165115300021392.
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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.
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Demker, Marie. "Converted by un confit de canard: Political Thinking in the Novel Soumission by Michel Houellebecq." European Review 27, no. 4 (July 9, 2019): 591–99. http://dx.doi.org/10.1017/s1062798719000188.
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From a certain perspective, literature is always political. Literature in a broad sense has been a source of uprisings and protest at least since Martin Luther nailed his theses on the door of the church in Wittenberg in 1517 – and probably much further back in history than that. Narratives are the most potent way to articulate both political praise and criticism within a given society. In his political satires, British author George Orwell reviled all kinds of totalitarianism and the idea of a socialist utopia. Swedish writer and journalist Stieg Larsson wrote explicitly dystopian crime stories targeting the Swedish welfare state. German novelist Heinrich Böll turned a critical eye on the development of the tabloid press and the use of state monitoring in German society. In the same tradition, Michel Houellebecq has been seen as a very provocative writer in his tone and in his use of political tools. He has articulated a nearly individual anarchist perspective combined with authoritarian and paternalistic views. In Soumission, Houellebecq uses the European idea of multiculturalism to explode our political frames from within. This article explores the perception of religion in Soumission, assesses the critique Houellebecq directs towards French society and European developments, and examines Houellebecq’s perception of democracy and politics. The following questions are addressed: does Houellebecq’s critique come from a classical ideological perspective? Does he describe any elements of an ideal society – even if only as the reverse of a presented dystopia? What kind of democracy does the text of Soumission support or oppose?
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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.
Повний текст джерелаАнотація:
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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Ma, Xiaolu. "“The Orient” versus Dongfang." Prism 17, no. 2 (October 1, 2020): 430–56. http://dx.doi.org/10.1215/25783491-8690436.
Повний текст джерелаАнотація:
Abstract Since Edward Said published his seminal study on Orientalism, the notion of the Orient has been heavily discussed and hotly debated in both the Eastern and Western worlds. While early studies of Orientalism mainly underline Western fantasies of an exotic East as the West's “other,” Chinese scholars have also been inspired to reconceptualize the notion of the Orient in recent decades. By examining the formation of the notion of dongfang 東方 (the Orient) through journal publications, academic disciplinary construction, and the writing of oriental history, this article observes how the Chinese world of letters identified China with the Orient when China attempted to accommodate itself to a Eurocentric historical narrative in the 1920s. The article further investigates how the Chinese achieved a strategic alliance with Soviet Russia in the 1950s to confront the Western cultural centers of Europe and the United States and how Chinese academia repositioned itself in response to the adoption of Western criticism on Orientalism in the 1980s. This article also traces the institutionalization of oriental literature studies in modern China under the influence of both Soviet Russian and Western European academia to investigate how reimagining the Orient has enabled Chinese scholars to reorient Chinese literature within the genealogy of world literature. This article thus aims to shed light on the Chinese reconfiguration of Chinese cultural identity in an ongoing negotiation between East and West.
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Sgarbi, Federica. "D.T. Suzuki on Swedenborg. An Introduction." GLOBAL PERSPECTIVES ON JAPAN, no. 5 (March 31, 2022): 64–82. http://dx.doi.org/10.62231/gp5.160001a03.
Повний текст джерелаАнотація:
The Japanese Buddhist scholar and philosopher Daisetsu Teitarō Suzuki (1870-1966) is known for his contributions and eff orts to promote Zen Buddhism in the West. However, a field of investigation, diligently cultivated by the religious scholar and somewhat neglected in the relevant literature, is his research on the Swedish mystic Emanuel Swedenborg (1688-1772). Suzuki, a devoted admirer of the European author, considered his works a valuable point of reference for overcoming the profound spiritual crisis widespread in Japan at the end of the 19th century. Therefore, he did his utmost to make his books known by translating them into Japanese and through his writings. Suzuki’s research off ers an original contribution to philosophy and the history of religion and an unprecedented interpretation of the figure of Swedenborg, perhaps known more for Kant’s criticism of his work than for his theological views. This article aims to introduce these contributions, retracing the life and works of the Swedish mystic, with specific reference to the analogies that Suzuki identified between Swedenborg’s and Buddhist thought.
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Neklyudova, Maria. "«Мертвые Цари всегда должны по смерти своей быть судимы»: Посмертная судьба одного древнеегипетского обычая в русской и европейской словесности XVI – XIX вв. [“Dead Kings Must Always be Judged after Their Demise”: The Afterlife of an Ancient Egyptian Custom in the Russian and European Literature of the 16th to 19th Centuries]". Slavica Revalensia 8 (2021): 9–47. http://dx.doi.org/10.22601/sr.2021.08.01.
Повний текст джерелаАнотація:
In his Bibliotheca historica, Diodorus Siculus described a peculiar Egyptian custom of judging all the dead (including the pharaohs) before their burial. The Greek historian saw it as a guarantee of Egypt’s prosperity, since the fear of being deprived of the right to burial served as a moral imperative. This story of an Egyptian custom fascinated the early modern authors, from lawyers to novelists, who often retold it in their own manner. Their interpretations varied depending on the political context: from the traditional “lesson to sovereigns” to a reassessment of the role of the subject and the duties of the orator. This article traces several intellectual trajectories that show the use and misuse of this Egyptian custom from Montaigne to Bossuet and then to Rousseau—and finally its adaptation by Pushkin and Vyazemsky, who most likely became acquainted with it through the mediation of French literature. The article was written in the framework (and with the generous support) of the RANEPA (ШАГИ РАНХиГС) state assignment research program. KEYWORDS: 16th to 19th-Century European and Russian Literature, Diodorus Siculus (1st century BC), Jean-Jacques Rousseau (1712—1778), Alexander Pushkin (1799—1837), Prince Pyotr Vyazemsky (1792—1878), Egyptian Сourt, Locus communis, Political Rhetoric, Literary Criticism, Pantheonization, History of Ideas.
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Ujvári, Hedvig. "Der Pester Lloyd als Quelle musikhistorischer Forschungen •." Studia Musicologica 63, no. 3-4 (June 19, 2023): 277–98. http://dx.doi.org/10.1556/6.2022.00017.
Повний текст джерелаАнотація:
AbstractThe cultural exchange processes can also be formulated from the point of view of transfer research, because plurality and hybrid cultures are primarily characteristic of the Central European communication space. The actors of these cultural mediation processes, who had the authority to shape and transport knowledge and culture, were authors, translators, publishers, journalists, and critics. As far as the research initiative of the author of this study is concerned, which focuses on the period between 1867 and the turn of the century (around 1900), it must be stated that this period has so far been only sparsely investigated. As a result of our own wide-ranging press-historical research, a cultural-historical database of the most important German-language organs of this epoch was created, whereby the focus was primarily on the culture section, mainly on the feuilleton yield of these newspapers. In addition to literature and theater, there was also intensive reference to neighboring disciplines, since art criticism, art history and, last but not least, the musical stages in Pest and Vienna were given plenty of space in these organs. In the following, an overview of the history of the press is given in a compact form, followed by selected finds on the subject of music from the last third of the nineteenth century.
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Moral, Pablo. "Weathering the Storm: The European Union’s Strategic Ambiguity on Twitter during the COVID-19 Pandemic." Defence Strategic Communications 12 (June 2, 2023): 231–56. http://dx.doi.org/10.30966/2018.riga.12.10.
Повний текст джерелаАнотація:
This study examines how the European Union (EU) employed strategic ambiguity as a discursive resource to manage its reputational crisis during the COVID-19 pandemic. For that purpose, this research analyses tweets in English published by six central authorities of the EU in three different phases of the COVID-19 crisis (pre-crisis, acute crisis, and post-crisis). The findings reveal that during the early stages of the pandemic, characterised by higher uncertainty, European authorities often resorted 232Defence Strategic Communications | Volume 12 | Spring 2023DOI 10.30966/2018.RIGA.12.10to ambiguous tweets through vague metaphors, opaque information, and disjointed messages. By the end of the first COVID-19 wave these authorities progressively constructed a solid narrative that rationalised the pandemic as a challenge reaffirming the EU’s principles and capacities. This study suggests that when the EU faced more external criticism and inner discord among member states, its authorities resorted to ambiguity to strategically mitigate its reputational damage while navigating through conflicting interests in a high-pressure scenario.
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Geiger, Till, and Michael Kennedy. "The lost origins of Ireland’s involvement in Europe: the Irish response to the Briand Plan, 1929–30." Irish Historical Studies 32, no. 126 (November 2000): 232–40. http://dx.doi.org/10.1017/s0021121400014863.
Повний текст джерелаАнотація:
In a collected volume assessing Ireland’s involvement in European integration Gearóid Mac Niocaill and Gearóid Ó Tuathaigh wrote that With the establishment of an Irish National State in 1922 the opportunities for expanding Irish links with Europe seemed greatly enhanced. It remained to be seen if these opportunities would be taken.However, Patrick Keatinge reminded readers of the same volume that ‘Up to the late 1950s Ireland’s diplomatic persona was only slightly “European”.’ Most Irish diplomatic historians would agree with this interpretation, arguing that Britain, the Commonwealth and the League of Nations remained the primary focus of Irish foreign policy in the inter-war period. Supporting Keatinge’s interpretation, the existing historical literature suggests that Irish diplomats were rather slow in renewing the perceived longstanding contacts with continental Europe before the Second World War. Indeed, Roy Foster has criticised the discursive claim of Ireland’s longstanding contacts with continental Europe, made by many Irish policy-makers at the time of Ireland’s entry into the European Economic Community in 1973, as a ‘grandiose self-delusion’. Most historical accounts, therefore, suggest that Ireland’s involvement in Europe tentatively started with the involvement in the Marshall Plan and participation in the Council of Europe.
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Górski, Kacper. "The Image of an Attorney as Illustrated in the Works of Polish Poets and Political Writers in the 16th–17th Centuries." Krakowskie Studia z Historii Państwa i Prawa 16, (Special Issues) (2023): 1–20. http://dx.doi.org/10.4467/20844131ks.23.033.18855.
Повний текст джерелаАнотація:
The article presents the image of an attorney as characterized in Old Polish literature from the 16th and 17th centuries. It reflected, to some extent, the attitude of the people of the time (primarily the nobility) towards the legal profession. There is no doubt that the perception of attorneys by Old Polish society was unequivocally negative. They were portrayed as greedy, dishonest men, liars with no respect for the law and even instigators of non-compliance with the law. Literary works and political writings broadly condemned such behaviors. However, this stereotype applied only to professional attorneys-at-law. By no means were non-professional agents (attorneys in fact) attacked, nor was the institution of the power of attorney itself criticized. It seems that this sort of critical attitude was not estate-based (many attorneys were noblemen), although it is possible that the low descent of lawyers influenced the virulence of the criticism. The paper attempts to answer the question as to what extent the literary image of an attorney corresponded to reality. It seems that the works comprised objective reflections on the legal profession and the emotional attitudes of individuals (including the authors themselves) or social groups. It is noteworthy that these pieces of literature often regarded the entire Polish legal system of the time as dysfunctional. Nevertheless, the recurrence of motifs such as greediness or dishonesty gives reason to believe that at least some of these allegations were not unfounded. At the same time, it should be noted that this image of a lawyer corresponded with the stereotype present in European and non-European culture from antiquity to contemporary times.
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Ujvári, Hedvig. "Balancing between different careers - The starting career of Max Nordau as physician and journalist in Budapest." Kaleidoscope history 11, no. 22 (2021): 156–66. http://dx.doi.org/10.17107/kh.2021.22.156-166.
Повний текст джерелаАнотація:
The doctor, journalist, Zionist, and essayist of cultural criticism Max Nordau (born as Simon Maximilian Südfeld 1849 Pest – died in Paris 1923), after high school graduation 1867 enrolled in Medical School at the University of Pest. Aged 37, he became famous at once for his book of cultural criticism titled Conventional Lies of Human Culture (Die conventionellen Lügen der Kulturmenschheit) and later he ruled the narrative and the set of definitions of Fin de Siècle by his main work Degeneration (Entartung). The year 1867 was also an important year in Nordau’s career as a journalist when he was hired to write for Pester Lloyd, a prestigious German-language journal. Prior to World War 1, he submitted Feuilletons to numerous newspapers of Europe and Northern America and was engaged among others for 35 years by the Vossische Zeitung. His works are in 17 languages available and his bestseller Degeneration had e.g. in England seven editions within four months. Between 1873 and 1876 Nordau travelled across Germany and parts of Northern Europe and in 1874, he finally began his long-awaited European tour he earned financially himself. He returned to Budapest only in Dezember 1875 and completed his medical exams. However, he did not stay in Budapest for long. He moved to Paris with his younger sister and mother, where he worked as a doctor and the correspondent of several European journals and in 1880 settled there permanently. When Nordau arrived in Paris, the opportunities he was presented with as a freelance journalist and the international fame of the Parisian medical circles were definitely a positive experiences to him. Nordau’s main achievement was complying with his two professional activities. As a physician, he endeavoured to analyse the contemporary culture by available means of psychopathology. Nevertheless, his diagnosis turned out as a total failure. He denied the creational capabilities of mainstream artists like novelists (Baudelaire, Zola, Verlaine, Tolstoi etc.), componists (e.g. Richard Wagner) and Philosophers (e.g. Nietzsche) and stigmatized them simply as insane and degenerated. However, his significant merits survived in the history of literature since he was a pioneer of modern cultural criticism thus his later impact e.g. on Georg Lukacs was obvious. Concerning Nordau’s works beyond novels, dramas and letters, medical and Zionistic documents, there are prevailing works of cultural criticism. They testify clearly that he was an icon of cultural criticism of Friedrich Nietsche’s significance and one of the leading intellectuals of Europe at the time of the Fin de Siècle. The aim of this paper is to show the years Nordau spent in Pest/ Budapest in terms of polyglottism and national identity. We discuss his linguistic and cultural paradigm shift since 1861 which forced Nordau first into defence and then into isolation both socio-culturally and professionally. He planned to write a dissertation about medical anthropology, a field for which there were no Hungarian specialists at that time.