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Zeitschriftenartikel zum Thema "1906-1962 Criticism and interpretation"
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Baraniecka-Olszewska, Kamila. "Buffalo Bill and Patriotism: Criticism of the Wild West Show in the Polish-Language Press in Austrian Galicia in 1906." East Central Europe 47, no. 2-3 (November 9, 2020): 313–33. http://dx.doi.org/10.30965/18763308-04702007.
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Abstract The article juxtaposes two perspectives guiding the perception of ethnographic shows, namely, a contemporary and an earlier one. The article uses the example of Buffalo Bill’s Wild West shows, staged in 1906 in the Polish territories under Austrian rule. Deriving from present criticisms of ethnographic shows and their interpretation through the prism of colonial studies, the author examines the types of reception of such performances met in places in which the inhabitants did not identify with colonialism. Analyzing reactions to the Wild West shows published in the Polish-language dailies, the author offers an interpretation of these performances as foreign, distant from the local social context, and evoking antipatriotic acts. While presently, criticism of ethnographic shows inspires reflection on human rights and equality, the article looks at how the philippics directed against Buffalo Bill’s performances contributed to the promotion of patriotic attitudes by the intellectual elites of the time.
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Nurhikmi, Devi, Ajid Thohir, and Samsudin Samsudin. "Peran Abdul Haris Nasution dalam Pembebasan Irian Barat (1957-1962)." Historia Madania: Jurnal Ilmu Sejarah 4, no. 1 (July 30, 2020): 177–200. http://dx.doi.org/10.15575/hm.v4i1.9194.
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This article seeks to describe one of the Dutch-Indonesian conflict, the liberation of West Irian. The focus of this study is the role of Abdul Haris Nasution in the Liberation of West Irian in 1957-1962. The method used in this study is historical research method which is carried out through four stages: heuristic, criticism, interpretation, and historiography. Abdul Haris Nasution’s role in this event was taking over Dutch companies, establishing the National Front for the Liberation of West Irian (FNPIB) and becoming its chairman, also TNI diplomacy by buying weapons and mision abroad to hear other countries’ responses regarding West Irian.
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Kepnes, Steven D. "Buber as Hermeneut: Relations to Dilthey and Gadamer." Harvard Theological Review 81, no. 2 (April 1988): 193–213. http://dx.doi.org/10.1017/s001781600001004x.
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In speaking about his objective in translating the tales of Nahman of Bratslav in July of 1906 Martin Buber said, “In general it is not my goal to gather new facts, but rather solely to give a new interpretation of their coherence, a new synthetic presentation of Jewish mystics and their creations.” Before his death, in responding to harsh criticism of his translations of the Hasidic tales, Buber referred to his work as an attempt “to convey to our own time the force of a former life of faith.” His task, as Gershom Scholem once pointed out in derision, was not primarily historical; it was not a process of fact gathering, but it was hermeneutical. He aimed to present a new interpretation of the Hasidic tales of the past which would render them relevant to the crisis of the contemporary reader.
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Vaninskaya, Anna. "Korney Chukovsky in Britain." Translation and Literature 20, no. 3 (November 2011): 373–92. http://dx.doi.org/10.3366/tal.2011.0037.
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Korney Chukovsky is a neglected figure in the story of the British reception of Russian literature. This essay attempts to recover his place in the complex networks of translation, criticism, and interpretation in the twentieth century by examining his three visits to Britain (1903-4, 1916, and 1962), his activities as an intermediary for British writers in Russia, and the British dissemination of his literary criticism.In his alternate guises as indigent newspaper correspondent, feted member of a wartime delegation, and recipient of an Oxford honorary doctorate, Chukovsky came to be both a key contributor to and a keen observer of British perceptions of Russian literature.
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Ananda, Resky, and Mustari Bosra. "Yayasan Pendidikan Islam Tompobulu, 1962-2010." Jurnal Pattingalloang 6, no. 3 (December 23, 2019): 88. http://dx.doi.org/10.26858/pattingalloang.v6i3.12166.
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Penelitian ini bertujuan untuk mengetahui latar belakang, perkembangan, serta dampak keberadaan Yayasan Pendidikan Islam Tompobulu di Kecamatan Tompobulu, Kabupaten Gowa. Penelitian ini menggunakan metode penelitian sejarah yang terdiri atas empat tahapan yaitu: heuristik, kritik sumber, interpertasi, dan historiografi. Data untuk penelitian ini diperoleh dari situs resmi dari Badan Pusat Statistik Kecamatan Tompobulu, serta hasil wawancara dengan beberapa pihak yang berperan penting dalam Yayasan Pendidikan Islam Tompobulu. Beberapa sumber buku yang terkait dengan dengan kajian penulis yang diperoleh dari Perpustakaan Kota Makassar, Perpustakaan Umum Universitas Negeri Makassar, Perpustakaan Prodi Pendidikan Sejarah, serta beberapa situs di internet. Hasil penelitian ini menunjukkan bahwa keberadaan Yayasan Pendidikan Islam Tompobulu memiliki peranan penting dalam dunia pendidikan di Kecamatan Tompobulu. Yayasan ini berdiri sebagai solusi bagi masyarakat Tompobulu yang mengalami kendala dalam pendidikan. Seiring dengan berjalannya waktu, maka yayasan ini juga mengalami perkembangan mengikuti zaman, sehingga madrasah-madrasah naungan Yayasan Pendidikan Islam Tompobulu mampu bersaing dengan sekolah-sekolah lain yang ada di Kabupaten Gowa, khususnya di Kecamatan Tompobulu. Yayasan ini memiliki peranan yang besar dalam mencerdaskan serta meningkatkan mutu perekonomian masyarakat Kecamatan Tompobulu. Kata kunci : Yayasan, Pendidikan Islam, Tompobulu Abstract This research and writing aims to determine the background, development, and impact of the existence of the Tompobulu Islamic Education Foundation in Tompobulu District, Gowa Regency. This study uses a historical research method which consists of four stages, namely: heuristics, source criticism, interpretation, and historiography. Data for this study were obtained from the official website of the Central Statistics Agency of Tompobulu District, as well as the results of interviews with several parties who played an important role in the Tompobulu Islamic Education Foundation. Several book sources related to the study of writers obtained from the Makassar City Library, Makassar Public University Public Library, Historical Education Study Library, and several sites on the internet. The results of this study indicate that the existence of the Tompobulu Islamic Education Foundation has an important role in the world of education in Tompobulu District. This foundation stands as a solution for the people of Tompobulu who experience obstacles in education. As time goes by, the foundation also develops with the times, so that the Islamic Education Foundation Tompobulu madrassas are able to compete with other schools in Gowa Regency, especially in Tompobulu District. This foundation has a large role in educating and improving the economic quality of the people of Tompobulu Distric. Keywords: Foundation, Islamic Education, Tompobulu
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Rossius, Iuliia. "Emilio Betti: from the history of law to the general theory of interpretation." Философская мысль, no. 11 (November 2020): 30–44. http://dx.doi.org/10.25136/2409-8728.2020.11.34232.
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The goal of this article consists in demonstration of the impact of research in the field of history and theory of law alongside the hermeneutics of Emilio Betti impacted the vector of this philosophical thought. The subject of this article is the lectures read by Emilio Betti (prolusioni) in 1927 and 1948, as well as his writings of 1949 and 1962. Analysis is conducted on the succession of Betti's ideas in these works, which is traced despite the discrepancy in their theme (legal and philosophical). The author indicates “legal” origin of the canons of Bettis’ hermeneutics, namely the canon of autonomy of the object. Emphasis is placed on the problem of objectivity in Betti's theory, as well as on dialectical tension between the historicity of the interpreted subject and strangeness of the object that accompanies legal, as well as any other type of interpretation. The article reveals the key moment of Betti's criticism of Hans-Georg Gadamer. Regarding the question of historicity of the subject of interpretation. The conclusion is made that the origin of the general theory of interpretation lies in the approaches and methods developed and implemented by Betti back in legal hermeneutics and in studying history of law.   Betti's philosophical theory was significantly affected by the idea on the role of modern legal dogma in interpretation of the history of law. Namely this idea that contains the principle of historicity of the subject of interpretation, which commenced  the general hermeneutical theory of Emilio Betti, was realized in canon of the relevance of understanding in the lecture in 1948, and later in the “general theory of interpretation”. The author also underlines that the question of objectivity of understanding, which has crucial practical importance in legal hermeneutics, was transmitted into the philosophical works of E. Betti, finding reflection in dialectic of the subject and object of interpretation.
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Boltwood, Scott. "‘Mildly Eccentric’: Brian Friel's Writings for the Irish Times and the New Yorker." Irish University Review 44, no. 2 (November 2014): 305–22. http://dx.doi.org/10.3366/iur.2014.0126.
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The conventional view of Brian Friel's career portrays him as a struggling writer whose first stories appeared in the New Yorker in late 1959. After briefly producing a small body of finely crafted, albeit conventional, short stories, he devoted himself to writing plays full-time after the phenomenal success of Philadelphia, Here I Come! (1964). This traditional interpretation of Friel's career also relies upon the assertion that the young writer also turned away from prose because of his inability to break free of the genre's constricting conventions, which were imposed both by foreign editors demanding nostalgic portrayals of rural Ireland and, as first argued by Ulf Dantanus, by Friel's own ‘failure to free himself’ from the influence of Frank O'Connor. This article challenges our view of Friel's early career in several ways. First and foremost, it uncovers a trove of seventy six previously unknown ‘essay/stories’ that he wrote for The Irish Times between September 1957 and May 1962, short experimental pieces that force the reader to question her/his assumptions about the form and content of Friel's early career. Second, when contextualized among his uncollected stories for the New Yorker and the Irish Press, we recognize a radically different story writer than previously described in the criticism.
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BUDNYI, Vasyl. "BOHDAN LEPKY`S LITERARY CRITICISM IN “SLOVANSKÝ PŘEHLED” JOURNALLITERARY CRITICISM IN “SLOVANSKÝ PŘEHLED” JOURNAL." Problems of slavonic studies, no. 68 (2019): 162–74. http://dx.doi.org/10.30970/sls.2019.68.3077.
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Abstract Background: A famous literary critic and writer, representative of the “Moloda Muza” group, B. Lepky was published in numerous Ukrainian and foreign journals in the early twentieth century. Today, his cooperation with Polish and German editions has been partially explored, but the Czech direction remains almost unclear. There are only individual references to B. Lepky's cultural publications in the “Slovanský přehled” journal in the works of V. Doroshenko, V. Lev, B. Rubchak. Purpose: The purpose of the study is to analyze the interpretative bases of B. Lepky's publications in “Slovanský přehled”, namely, five annual reviews of Ukrainian literature (1901, 1902, 1903, 1905, 1906) and three cultural pieces of knowledge: about the composer M. Lysenko, about the translation of short stories by M. Kotsiubynsky into Polish, and the scientific works of M. Hrushevsky, B. Barvinsky and V. Shchurat. Results: B. Lepky followed I. Franko in editing “Slovanský přehled” journal. I. Franko prepared the ground for the Czechs to familiarize them with Ukrainian literature. In a series of annual reviews, B. Lepky considered Ukrainian literature in the pan-European context, translating the realities of national culture into the language of universal cultural concepts. Not contradicting realism and modernism, the critic appraised the high artistic value of the works by Lesya Ukrainka, V. Stefanyk, M. Kotsyubynsky, O. Kobylyanska, which were marked by modern stylistic trends. Trying to convey the original content to the foreign reader, B. Lepky approached his critical speech to the poetic one, painting it with impressionistic strokes and symbolic imagery. The author concluded that the importance of B. Lepky’s Czech publications was important for understanding the ways in which Ukrainian writing was modernized and contextualized in Slavic and pan-European culture in the early twentieth century. Key words: Modernism period, literary process, critical writing, literary review, review, contextualization, impressionism, symbolism.
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Gonzalez Delgado, Mariano, and Tamar Groves. "La enseñanza programada, la UNESCO y los intentos por modificar el currículum en la España desarrollista (1962-1974)." Espacio, Tiempo y Educación 4, no. 2 (July 1, 2017): 73. http://dx.doi.org/10.14516/ete.186.
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This paper focuses on studying the origin and evolution of the programmed learning in Spain. For this, an interpretation about the influence exerted by the international governmental organization for its implantation is emphasizes. First, the paper explains its beginnings in relation to the educational framework opened by UNESCO. The article continues with the explanation of the first criticisms that were established on this curricular policy. Finally, an attempt is made to give an explanation about its rapid decline. It concludes by indicating the importance of international and local social factors in understanding the historical construction of the curriculum in the Development Spain.
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Kraśko, Nina. "Witold Jedlicki (29 II 1929 – 7 IX 1995). Między samorealizacją a realiami." Kultura i Społeczeństwo 61, no. 4 (October 10, 2017): 189–213. http://dx.doi.org/10.35757/kis.2017.61.4.10.
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Witold Jedlicki (1929–1995), an important, if somewhat disregarded Polish sociologist, began work at the University of Warsaw as the first assistant of professor Stanislaw Ossowski, member of Ossowski’s circle, also known as the Warsaw School of Sociology. Little, however, is known of Jedlicki’s life after he emigrated to Israel in 1962; in present day Poland he is remembered mainly as the author of a single text Chamy i Żydy published in 1962 in Kultura [Culture], a leading Polish emigré journal appearing in Paris. Through research of Polish and Israeli archives, study of publications in political and academic institutional history as well as interviews with Jedlicki’s brother Jerzy and Chanan Rapaport, at that time head of the National Institute for Research in the Behavioral Sciences the author was able to partly reconstruct his career abroad in Israel and the US, including contributions to Kultura and later criticism of the political situation in Poland and Israel. Conversations with Jedlicki’s friends and acquaintances, his own texts (published and unpublished), and particularly his correspondence with Jerzy Giedroyc, editor in chief of Kultura provide a new psychological insight into the intellectual history of a scholar still quoted by the Polish school of sociology in discussions and interpretations of Polish society.
Dissertationen zum Thema "1906-1962 Criticism and interpretation"
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Fraser, Graham 1966. "The self-conscious narrator in Beckett's trilogy /." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59888.
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This thesis examines Beckett's trilogy as a work of metafiction, approaching each novel through its primary metafictional device, the self-conscious narrator. Since the narrators are aware of their roles as story-tellers, the examination is carried out in light of Beckett's pronouncements on the nature of art and the artist. Not only are the narrators found to meet Beckett's criteria for artists and artistic development, but Beckett's aesthetic is seen virtually to require self-consciousness. In their situations, their relationship to the audience (both reader and narratee) and the nature of their tales, the self-conscious narrators follow the artistic trajectory Beckett maps out in his critical writings. As Beckett's aesthetic is fulfilled, the narrators' increasing self-consciousness intensifies the metafictional aspects of the trilogy. The trilogy is thus a demonstration of Beckett's self-conscious aesthetic--a descent into reflexivity on the part of the narrators, and through the narrators, on the part of trilogy as a whole.
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Rivers, Patricia Ann. "The narrative poetics of William Faulkner : an analysis of form and meaning." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26757.
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Most critical acclaim of William Faulkner has focused on his innovations of narrative technique, and while critics have frequently noted the correlation between form and meaning in his novels, the central focus of these novels--race--has largely been ignored in the criticism. The purpose of this paper is to examine Faulkner's narrative methodology and arrangement of material in order to demonstrate that the structures of his novels, particularly Light in August and Absalom, Absalom!, consistently enhance and dramatize the major subject and themes of the novels. Under careful scrutiny, these structures reveal an effective and dramatic parallel between Faulkner's rhetorical methodology and the complexity of his subject matter--the South, and the issue of race.
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Reiswig, Amy. "Robinson Jeffers, hermit of Carmel : recontextualizing inhumanism." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ64185.pdf.
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Pettey, Homer Boyd. "Faulkner and fetishism." Diss., The University of Arizona, 1989. http://hdl.handle.net/10150/184671.
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This study compares fetishistic desires exhibited within Faulkner's fiction to the narrative strategies governing those texts. It surveys Faulkner's thematic and narrative experiments with fetishism from his first poems and sketches through his major novels. His early works, especially "Nympholepsy" and The Marble Faun, capture fetishistic moments of longing and lack of fulfillment, attraction and repulsion. Faulkner's novels, though, re-enact the dynamics of fetishism by means of their narrative strategies; thus, Faulkner achieves a correspondence between the fictional form and the fetish depicted. Because his texts engage us within their shifting temporality and symbolic repetitions, as readers we invariably fall prey to the fetishistic desires his narratives initiate and imitate. Interpretive problems necessarily arise concerning the reader's relationship to the text and desire for meaning. In As I Lay Dying, multiple points-of-view call our attention to the validity of interpretive perception; in Sanctuary, rape operates as Faulkner's master trope for both the characters' and reader's struggles for dominance; in Absalom, Absalom!, writing and reading history are obsessions shared by the narrators and the reader. My readings are informed by several interdisciplinary approaches to fetishism, such as: icon-worship and totemism from anthropology; object and linguistic substitutions from psychoanalysis; commodity exchange and reification from Marxist theories; and sign production and displacement from post-structuralism. Instead of imposing a general taxonomy for fetishism, I have allowed each text's narrative and thematic structures to guide my readings and, therefore, consciously matched my readings to the particular fetishes his narratives engender.
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Cobill, Brenda. "A study of the relationship between Paul Cézanne and Paul Gauguin." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22576.
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This thesis provides a critical analysis of the literature concerning the relationship, both artistic and personal, between Paul Cezanne and Paul Gauguin. It proceeds from the popular belief that Cezanne harbored an excessive amount of ill will towards Gauguin. Examination of the sources upon which this belief is based prove them to be controversial and conflicting, yet the myth of Cezanne's animosity towards Gauguin is still widely accepted, effectively obscuring the more positive, creative aspect of their interaction. In the assessment of this relationship, Camille Pissarro emerges as a pivotal figure because of his close ties to both artists. It will be shown that Gauguin found in Cezanne's art concepts which were germane to his own artistic practices and theoretical directions. The later Symbolist interpretation of Cezanne reflects the dissemination of Gauguin's teachings about the artist and reveals that, in some measure, Gauguin was responsible for the critical acclaim Cezanne was to receive in his final years.
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Hughes, Jeremy Francis. "An examination of the sonnets of E.E. Cummings." Thesis, Rhodes University, 1992. http://hdl.handle.net/10962/d1002287.
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This dissertation examines E. E. Cummings's writings in the sonnet genre and in those genres to which the sonnet is related in various ways. Its fundamental point is that, despite the surface impression of poetic iconoclasm for which Cummings has a popular reputation, in choosing to write sonnets he engages in a traditional literary practice. He does this because his purpose is always to be an artist, as defined by the Aesthetic movement which influenced him. In order to argue his embracing of a traditional artistic role, the theory of genres espoused by Alastair Fowler in his book, Kinds of Literature, is used. Chapter 1 of the thesis comprises general introductory material, both to the range of Aesthetic ideas to which Cummings subscribed, and to Fowler's theory of genres. Several key generic kinds are also described. The second chapter makes use of two of these generic models, the sonnet sequence and the silva, as a way of examining Cummings's deployment of the sonnet within the larger context of his poetry collections. It is a survey of the structure of the anthologies he compiled from Tulips & Chimneys (1922) to 95 Poems (1958). The third chapter explores the three sonnet modes which Cummings first identifies and names when compiling the manuscript of Tulips & Chimneys, and continues to use in his collections up to and including is 5 (1926). Chapter 4 shows how certain themes and concerns from these early sonnets are altered and synthesised as Cummings matures from an aesthete to a Romantic poet. Sonnets from his later books are taken to be representative of three central kinds in all of his work after is 5. Chapters 3 and 4 proceed by means of relatively close readings of individual sonnets. This practice fulfils a double role: it penetrates the apparent obscurity of the more difficult poems, and it attempts to preserve the integrity of individual poems which exemplify different generic tendencies in Cummings's work. One of Cummings's reasons for writing sonnets is that the form favours the achievement of what Wordsworth calls "a feeling of intense unity". In undertaking close readings of a few sonnets I have attempted to preserve that feeling.
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Sautter, Sabine. "Irrationality and the development of subjectivity in major novels by William Faulkner, Hermann Broch, and Virginia Woolf." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0017/NQ55379.pdf.
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Lax, Sharon. "Bringing the thinking subject into the world : reflections on the work of Hannah Arendt." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30845.
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Hannah Arendt explored the duality of the privately and publicly constructed realms which serve, through our thoughts and our actions, to position us in the world. She draws a distinction between the vita activa and the vita contemplativa, challenging prior conceptions of the radical division between the two.<br>I examine, in Arendt's work, the concepts of solitude and isolation and how these inform her discourse on reflective thinking. It is my argument that the distinction between these two concepts cannot be drawn as neatly as she attempted to do. These two states of being in fact meet in the figure of the pariah as critical thinker, as well as storyteller, and finally as a catalyst for public action.<br>I submit that there is a subtextual theme of temporality within Arendt's work and then move to demonstrate how this theme expresses the nature and context of thinking and judging, in relation to action.<br>Finally, I draw upon Arendt's distinctions between thinking and judging, arguing that one cannot be extracted from the other and that the two cannot be defined as autonomous, in the context of critical thinking. (Abstract shortened by UMI.)
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Hellman, Thomas. "Beckett, Babel et bilinguisme, suivi de, Espaces." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79945.
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Critical essay. Soon after the end of the Second World War, Samuel Beckett began producing French and English versions of each of his works. This raises interesting questions concerning the relationship between two languages and two texts within one literary work. Bilingualism is an essential dimension of Beckett's "oeuvre" which pushes the very limits of literature and explores essential aspects of language, identity and creation.<br>Creative writing. I was born in Montreal of a French mother and a father from Texas. My work in creative writing consists of six short stories set between the three geographical poles of my existence: Quebec, the United States and France. I also wrote a French and English version of my short story entitled The Ghost of Old Man Beck. These stories explore, on a more personal and creative level, the questions of bilingualism, identity and creativity raised in my critical essay.
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Brown, Peter Robert 1963. "Narrative, knowledge and personhood : stories of the self and Samuel Beckett's first-person prose." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35856.
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This dissertation offers both a theoretical investigation into the relationships between narrative, knowledge and personhood and a literary critical analysis of a group of Samuel Beckett's works in which narrative, knowledge and personhood are the central themes.<br>I present an account of the notion of narrative and explore the nature of justified narrative assertions. I then turn to skeptical and anti-realist arguments about the ability of narratives to represent truthfully the world. Such arguments are widespread in postmodernist and poststructuralist circles, and in order to evaluate them, I consider particular arguments of Jean-Francois Lyotard, Christopher Norris and Hayden White, all of whom question the ability of narratives to be true. The positions of these theorists rely upon deep conceptual confusion, and, after sorting out their claims, I conclude that they offer no compelling reasons to doubt that narratives can accurately and truthfully represent the world.<br>Next, I offer an analysis of the relationship between the notion of personhood and narrative. I argue against postmodernist and poststructuralist critiques of subjectivity, and, drawing on the work of various contemporary philosophers, I defend notions of subjectivity and selfhood while acknowledging and examining the essentially narrative nature of such phenomena. The concept of a "personal history" receives detailed analysis, as does the notion of a "situated self." While agreeing with particular criticisms of what is often called the "modern self," I argue that there are specific normative projects of modernity, namely autonomy and self-realization, that are worth preserving.<br>Finally, I explore the themes of narrative, knowledge and personhood in the nouvelles of Samuel Beckett. These works represent crises of narrative and personhood, and they depict the epistemic and ethical difficulties encountered by persons under conditions of modernity, conditions in which individual lives often lack narrative unity and meaning. I read Beckett as a critic of culture whose work, while deeply critical of certain trends in modern culture, points to the need for individual subjects to find true and meaningful narratives in which they can participate as co-authors.
Bücher zum Thema "1906-1962 Criticism and interpretation"
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Arnaud, Noël. Lettre à l'auteur de Alfred Jarry, biographie 1906-1962: Pouvant servir à cette dernière de complément. [Paris]: Fourneau, 1995.
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Ivan, Brkanović, and Supičić Ivo, eds. Ivan Brkanović, 1906-1987. Zagreb: Jugoslavenska akademija znanosti i umjetnosti, 1989.
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Augustyn, Wolfgang. Ernst Klinger: 1900-1962. Lindenberg: J. Fink, 1997.
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Ruivo, Marina Bairrão. Bernardo Marques, 1898-1962. Lisboa: Editorial Presença, 1993.
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1954-, Marwedel Rainer, ed. Nachtkritiken: Kleine Schriften, 1906-1907. Göttingen: Wallstein, 2005.
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Lessing, Theodor. Nachtkritiken: Kleine Schriften 1906-1907. Göttingen: Wallstein, 2006.
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Sara, Gelli, and Università di Firenze, eds. Parco dei divertimenti: Scritti sparsi, 1906-1974. Roma: Edizioni di storia e letteratura, 2014.
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1886-1980, Kokoschka Oskar, Bonito Oliva Achille, and Bisanz Hans 1929-, eds. Kokoschka, early drawings and watercolours 1906-1924. London: Thames and Hudson, 1985.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "1906-1962 Criticism and interpretation"
1
Fiedler, Lutz. "Communist Dissidents." In Matzpen, 29–77. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474451161.003.0002.
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The first chapter illuminates the genesis of Matzpen, which started with the expulsion of four members from the Communist Party of Israel in autumn 1962. The chapter begins by situating this event within the much broader processes of de-Stalinization after Nikita Khrushchev’s “secret” revelations at the 20th Congress of the Soviet Communist Party in 1956. Yet, although the founding of Matzpen paralleled in many ways the path of the European New Left, the chapter emphasizes the specific objections to the Communist Party’s analysis of Israeli society and the Middle East conflict that played a role in the early evolution of Israel’s New Left. First, Matzpen’s criticism of the Israeli trade union Histadrut is reconstructed. Matzpen’s call for the establishment of a new, democratic representation for the Israeli workers is traced back to the famous seamen strike in Haifa in 1951. Second, the chapter discusses the emergence of the dissidents’ independent interpretation of Israel’s conflict with the Arab world: At variance with their party’s ideological interpretations of the war of 1948, they began delving into the questions of Israel’s borders and Palestinian refugees to expose a previously concealed link between the founding of the Jewish state and the Palestinian catastrophe – the Nakba.