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1
Halmi, Nicholas. "The Nostalgic Imagination: History in English Criticism." Common Knowledge 27, no. 2 (May 1, 2021): 318–20. http://dx.doi.org/10.1215/0961754x-8906285.
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Fargnoli, Joseph R., and Rene Wellek. "A History of Modern Criticism: 1750-1950. Vol. 5: English Criticism, 1900-1950." Journal of the Midwest Modern Language Association 20, no. 1 (1987): 118. http://dx.doi.org/10.2307/1315004.
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Nemoianu, Virgil, and Rene Wellek. "A History of Modern Criticism 1750-1950. Vol. 5: English Criticism, 1900-1950; Vol. 6: American Criticism, 1900-1950." MLN 101, no. 5 (December 1986): 1245. http://dx.doi.org/10.2307/2905719.
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Overton, Bill. "Review: Authors and Authority: English and American Criticism 1750–1990." Literature & History 2, no. 1 (March 1993): 96–97. http://dx.doi.org/10.1177/030619739300200107.
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Hill, Christopher. "Review: Lines of Authority: Politics and English Literary Criticism, 1649–1689." Literature & History 5, no. 2 (September 1996): 79–80. http://dx.doi.org/10.1177/030619739600500211.
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Allison, J. W. F. "HISTORY TO UNDERSTAND, AND HISTORY TO REFORM, ENGLISH PUBLIC LAW." Cambridge Law Journal 72, no. 3 (November 2013): 526–57. http://dx.doi.org/10.1017/s000819731300069x.
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AbstractThis article considers the contentious invocations of history that have become prominent in debates about English public law. It presents them as uses of history not simply to understand English public law but to reform it, through the reconstruction of historic authorities or reappraisal of historical sources. This article addresses the criticism they have attracted by distinguishing different kinds of orthodox and unorthodox reformist history. It advocates their transparent use and thoroughly deliberative history for reformist purposes in public law. It does so in three distinctive ways: first, by suggesting implications of Coke's dictum on causal understanding for whig historical approaches in the common law; secondly, by reassessing Maitland's dichotomy between the lawyer's logic of authority and the historian's logic of evidence; and, thirdly, by arguing that much can be learnt from the methodological caution, deliberation and rigour promoted by comparativists in their developed literature on legal transplants and law reform.
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Dillon, John Noël. "CONJECTURES AND CRITICISM IN BOOK 1 OF THECODEX JUSTINIANUS." Classical Quarterly 65, no. 1 (April 2, 2015): 321–43. http://dx.doi.org/10.1017/s0009838814000640.
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Since 2007, a team of American and British ancient historians has been preparing a new translation of theCodex Justinianus. The ‘Codex Project’ was launched by chief editor Bruce W. Frier; the goal of the project is to create the first reliable English translation of theCodex Justinianuson the basis of the standard edition by Paul Krüger. Since 1932, the notoriously unreliable translation by Scott has remained the only one in English. The new translation by the Codex Project should appear soon.
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Jenkins, E. R. "English South African children’s literature and the environment." Literator 25, no. 3 (July 31, 2004): 107–24. http://dx.doi.org/10.4102/lit.v25i3.266.
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Historical studies of nature conservation and literary criticism of fiction concerned with the natural environment provide some pointers for the study of South African children’s literature in English. This kind of literature, in turn, has a contribution to make to studies of South African social history and literature. There are English-language stories, poems and picture books for children which reflect human interaction with nature in South Africa since early in the nineteenth century: from hunting, through domestication of the wilds, the development of scientific agriculture, and the changing roles of nature reserves, to modern ecological concern for the entire environment. Until late in the twentieth century the literature usually endorsed the assumption held by whites that they had exclusive ownership of the land and wildlife. In recent years English-language children’s writers and translators of indigenous folktales for children have begun to explore traditional beliefs about and practices in conservation.
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Kane, George. "Textual Criticism and Middle English Texts.Tim William Machan." Speculum 71, no. 4 (October 1996): 975–78. http://dx.doi.org/10.2307/2865755.
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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.
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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.
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CHEN, Zhongxiang. "Interpretation of the Women in the Biblical Literature." Review of Social Sciences 1, no. 6 (June 29, 2016): 09. http://dx.doi.org/10.18533/rss.v1i6.36.
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<p>Bible as literature and Bible as religion are comparative. It is without doubt that Bible, as a religious doctrine, has played a great role in Judaism and Christianity. It is meanwhile a whole literature collection of history, law, ethics, poems, proverbs, biography and legends. As the source of western literature, Bible has significant influence on the English language and culture, English writing and modeling of characters in the subsequent time. Interpreting the female characters in the Bible would affirm the value of women, view the feminist criticism in an objective way and agree the harmonious relationship between the men and the women. </p>
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Huisman, Rosemary. "The discipline of English Literature from the perspective of SFL register." Language, Context and Text 1, no. 1 (February 4, 2019): 102–20. http://dx.doi.org/10.1075/langct.00005.hui.
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AbstractThe paper first traces the history and elaboration of the tertiary discipline English Literature through the 19th and 20th centuries to the present day, with special focus on the axiology, the values, given to the discipline and with a brief account of literary criticism and literary theory. It then refers to the work on registerial cartography in systemic functional linguistics (SFL) and explores the register of the contemporary discipline in first-order field of activity and second-order field of experience, with examples from the language of webpages and exam papers of Australian universities. It continues with a brief overview of the author’s own work using SFL in the study ofthe poeticandthe narrativein English poetry and prose fiction of different historical periods and concludes with a caveat on the central disciplinary process, that of interpretation.
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Waters, Lindsay. "To Become What One Is." boundary 2 48, no. 1 (February 1, 2021): 251–63. http://dx.doi.org/10.1215/01903659-8821510.
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In the twentieth century, criticism flourished in the academy in the English language from the 1930s to the 1960s, but gradually a hyperprofessionalized discourse purporting to be criticism took its place. The problem was exacerbated because people misunderstand literary theory thinking it superior to criticism. Big mistake. Theory proper begins its life as criticism, criticism that has staying power. Central to criticism as Kant argued is judgment. Judgment is based on feeling provoked by the artwork in our encounters with artworks. This essay talks about the author’s encounter with Mary Gaitskill’s novel Veronica. The critical judgment puts the artwork into a milieu. This essay argues the case for the holism of critical judgments versus what the author calls Bitsiness as Usual, the fragmentation of our understanding of our encounters with artworks. The author subjects both Paul de Man and the New Historicists to severe attacks.
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Fairer, D. "Historical Criticism and the English Canon: A Spenserian Dispute in the 1750s." Eighteenth-Century Life 24, no. 2 (April 1, 2000): 43–64. http://dx.doi.org/10.1215/00982601-24-2-43.
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Brown, Howard Mayer. "Recent Research in the Renaissance: Criticism and Patronage*." Renaissance Quarterly 40, no. 1 (1987): 1–10. http://dx.doi.org/10.2307/2861832.
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The book that everyone in musicology is talking about this year—not just those of us working in the fifteenth and sixteenth centuries—is Joseph Kerman's Contemplating Music (Cambridge, Mass.: Harvard University Press, 1985; called simply Musicology in the English edition). In it, Kerman argues against what he calls positivism, which he defines as a rigid and non-judgmental pursuit of dry facts, and in favor of the higher criticism, by which he seems to mean analysis—or at least some penetrating discussion of the way individual pieces work and what makes them great—informed by a sense of history and written in a humanistic style, with a personal commitment on the part of the author to the quality of the music with which he is concerned.
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Teranishi, Masayuki, Aiko Saito, Kiyo Sakamoto, and Masako Nasu. "The role of stylistics in Japan: A pedagogical perspective." Language and Literature: International Journal of Stylistics 21, no. 2 (May 2012): 226–44. http://dx.doi.org/10.1177/0963947012444034.
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This article surveys the history of English studies and education in Japan, paying special attention to the role of literary texts and stylistics. Firstly, the role of literature and stylistics in Japan is discussed from a pedagogical point of view, including both English as a foreign language and Japanese as a native language. Secondly, the way in which stylistics has contributed to literary criticism in the country is examined, with reference to the history of literary stylistics since 1980. Finally, this article considers further applications of stylistics to language study in Japan, offering two examples: analysis of thought presentation in Yukio Mishima’s Megami (2006[1955]), and the teaching of an English poem and a Japanese haiku to Japanese EFL students. The overall aim of this article is to demonstrate that literature as language teaching material and stylistics as a critical and teaching method are significant not only in understanding English, but also in appreciating our own native language if it is not English.
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Noonkester, Myron C. "The Third British Empire: Transplanting the English Shire to Wales, Scotland, Ireland, and America." Journal of British Studies 36, no. 3 (July 1997): 251–84. http://dx.doi.org/10.1086/386137.
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During their hegemony in world affairs, the English exported persons, commodities, and texts to regions that they absorbed into a widening pale of influence. Discussion of these ventures has consumed a vast literature. What once seemed to be a simple matter of transporting Protestantism (or convicts) into an overseas wilderness or making distant lands safe for English farming and trade now seems a matter too complex to be captured in a metaphor or an alliterative catchphrase. Yet it remains a matter of historical fascination that a relatively small archipelago off the coast of Europe not only could become the first “modern” nation-state but could then transform itself into a vast global empire, ultimately making it seem as if the affairs of this proverbial workshop encompassed world history itself. For many years, such success seemed too evident for investigation, and scholarly attention turned toward explaining how this achievement unraveled or declined. The result has been a quest for detailed precision and microhistorical reconstruction on the part of those who have adopted an “empirical,” geopolitical approach to imperialism and an outpouring of criticism from those who, on the opposite end of the ideological spectrum, have penned polemical classics whose evocative, if not evidentiary, power envisioned revolution as historical destiny and a means of filling the intellectual and political void left by imperial evacuation. Their disagreements notwithstanding, however, both categories of imperial commentary display relative innocence of the paradox that imperial power represented: that, despite voluble criticism, it enjoyed eclipsing success for a time and produced effects whose mysteries continue to survive postcolonial deconstruction.
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Chase, Colin. "The Old English Elegies: New Essays in Criticism and Research. Martin Green." Speculum 60, no. 3 (July 1985): 680–82. http://dx.doi.org/10.2307/2848198.
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Ingelbien, Raphaël. "Single or Return, Ladies? The Politics of Translating and Publishing Heine on Shakespeare." Comparative Critical Studies 16, no. 2-3 (October 2019): 181–200. http://dx.doi.org/10.3366/ccs.2019.0326.
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This article contrasts two English translations of Heinrich Heine's Shakspeares Mädchen und Frauen (1838), produced by Charles Godfrey Leland (1891) and Ida Benecke (1895), which are now regularly (though randomly) quoted in Shakespeare scholarship. The comparison sheds light on different strategies involved in translating a text as an independent document or as part of a ‘Collected Works’ series. The discrepancies between publication contexts are correlated with differences between domesticating and foreignizing approaches, and with the diverging appreciations of Heine's place within Shakespeare criticism that such choices entail. The translators' gender politics are also shown to affect their renderings of Heine's text on female characters in Shakespeare, which was itself indebted to a book by Anna Jameson (1832). Finally, cultural transfer theory and histoire croisée are used to explore a ‘re-transfer’ that involved British Shakespeare critics, an atypical Jewish-German writer who drew on their work, and Heine's ‘English’ translators. The article highlights the necessary imbrication of translation studies and book history in the analysis of complex transcultural forms of textual production, of which Shakespeare criticism is paradigmatic.
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Reid, Lindsay Ann. "The (lost) tune of ‘Raging Love’ and its reverberations in Isabella Whitney’s Copy of a Letter." Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (March 30, 2020): 103–20. http://dx.doi.org/10.1177/0184767820913284.
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This article argues that Isabella Whitney’s verse epistles ‘To Her Unconstant Lover’ and ‘The Admonition’ in The Copy of a Letter (c. 1566–67) are enmeshed more thoroughly in the early modern English soundscape than previous criticism has tended to acknowledge. Seeking to enrich current understandings of Whitney’s confluences, this article first examines the vibrant musical sphere in which The Copy of a Letter’s printer-publisher Richard Jones was demonstrably immersed before moving on to explore the more specific implications of an acoustically evocative allusion to ‘Raging Love’ (a now-lost Elizabethan ballad melody) in the opening lines of ‘The Admonition’.
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Suh, Serk-Bae. "The Location of “Korean” Culture: Ch'oe Chaesŏ and Korean Literature in a Time of Transition." Journal of Asian Studies 70, no. 1 (February 2011): 53–75. http://dx.doi.org/10.1017/s0021911810003001.
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This essay focuses on Ch'oe Chaesŏ, a leading Korean intellectual, active translator of English literary criticism, and editor in chief of Kokumin Bungaku (National Literature), a prominent Japanese-language journal published in colonial Korea. Ch'oe asserted that the unfolding of history in the twentieth century demanded a paradigmatic transition from liberalism to state-centered nationalism in culture. He also privileged everyday life as allowing people to live as members of communities that ultimately are integrated into the state. By positioning Koreans firmly as subjects of the Japanese state, his argument implied that the colonized should be treated on a par with the colonizers. Further, Ch'oe advocated Koreans' cultural autonomy as an ethnic group within the Japanese empire. Tracing Ch'oe's early life and examining his critical essays on nation, culture, and state, the author discusses how his endeavors to establish an autonomous space for Korean culture simultaneously legitimized Japanese colonial control.
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Carnochan, W. B. "Lee Morrissey. The Constitution of Literature: Literacy, Democracy, and Early English Criticism. Stanford, CA: Stanford University Press, 2007. Pp. 242. $60.00 (cloth)." Journal of British Studies 47, no. 4 (October 2008): 932–34. http://dx.doi.org/10.1086/592899.
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Roberts, David. "‘As Rude As You Like – Honest’: Theatre Criticism and the Law." New Theatre Quarterly 19, no. 3 (August 2003): 265–77. http://dx.doi.org/10.1017/s0266464x03000162.
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In 2001, when David Soul sued the Daily Mirror for printing a defamatory review of his West End show, The Dead Monkey, questions surfaced about the critic's rights and responsibilities under the law. There have been numerous accounts in recent years of the relationships between law and literature, and the general assumption is that critics can claim the defence of ‘fair comment’. However, very little work has been done on the history, rationale, and implications of that defence, or on the actions before Soul's in which aggrieved theatre people have attempted to bring critics to account. David Roberts evaluates individual cases from legal history in which the critic's rights have been tested, and considers what they have to tell us about the way our society conceptualizes critical activity. Bourdieu's history of taste is invoked, but modified to show how the law's concern with formalism in its own processes has endorsed a matching version of the critical process. David Roberts is Head of English at the University of Central England, Birmingham.
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Brannigan, John, Marcela Santos Brigida, Thayane Verçosa, and Gabriela Ribeiro Nunes. "Thinking in Archipelagic Terms: An Interview with John Brannigan." Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 20, no. 35 (May 13, 2021): 3–28. http://dx.doi.org/10.12957/palimpsesto.2021.59645.
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John Brannigan is Professor at the School of English, Drama and Film at University College Dublin. He has research interests in the twentieth-century literatures of Ireland, England, Scotland, and Wales, with a particular focus on the relationships between literature and social and cultural identities. His first book, New Historicism and Cultural Materialism (1998), was a study of the leading historicist methodologies in late twentieth-century literary criticism. He has since published two books on the postwar history of English literature (2002, 2003), leading book-length studies of working-class authors Brendan Behan (2002) and Pat Barker (2005), and the first book to investigate twentieth-century Irish literature and culture using critical race theories, Race in Modern Irish Literature and Culture (2009). His most recent book, Archipelagic Modernism: Literature in the Irish and British Isles, 1890-1970 (2014), explores new ways of understanding the relationship between literature, place and environment in 20th-century Irish and British writing. He was editor of the international peer-reviewed journal, Irish University Review, from 2010 to 2016.
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PARRIS, D. L. "Review. French-Canadian Authors: A Bibliography of their Works and of English-Language Criticism. Kandiuk, Mary." French Studies 47, no. 1 (January 1, 1993): 113. http://dx.doi.org/10.1093/fs/47.1.113-a.
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Ullyot, Michael. "Augmented Criticism, Extensible Archives, and the Progress of Renaissance Studies." Renaissance and Reformation 37, no. 4 (April 30, 2015): 179–94. http://dx.doi.org/10.33137/rr.v37i4.22646.
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In the three decades since the rise of New Historicism, Renaissance studies has progressed through extensions of scholars’ archival reach to new objects for new interpretations. The future will bring expansions on a larger scale, like those we now witness in English print archives. Machine-readable transcriptions of some fifty thousand texts now enable scholars to use algorithms that tell us things about them that are true, yet can only be known in the future. This is an argument not for an algorithmic criticism but for an augmented criticism, in which human judgments are the origin and outcome of algorithmic research methods. It sketches the emergent methods that are possible only in 2015, yet will do for the archival humanities what telescopes did for astronomy.
Durant les trois décennies qui ont suivi l’émergence de la nouvelle histoire, les études de la Renaissance ont développé grâce à un travail approfondi d’archives de nouvelles données à interpréter. Des développements similaires de plus grande ampleur nous attendent, tels que ceux que nous observons dans l’étude des archives imprimées anglaises. Des transcriptions pouvant être analysées par des logiciels permettent maintenant aux chercheurs d’utiliser des algorithmes révélant de nouveaux faits réels, et pourtant inaccessibles avant aujourd’hui. Il s’agit d’un argument non pas en faveur de la critique algorithmique, mais en faveur d’une critique plus vigilante, assurant que le jugement humain est bien au centre des hypothèses et des résultats des méthodes de recherche algorithmique. Cet article fait un portrait des méthodes émergentes qui ne sont possibles qu’en 2015, et qui pourraient avoir le même effet que le télescope pour l’astronomie.
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ROLLS, ALISTAIR. "Primates in Paris and Edgar Allan Poe’s Paradoxical Commitment to Foreign Languages." Australian Journal of French Studies 58, no. 1 (April 1, 2021): 76–87. http://dx.doi.org/10.3828/ajfs.2021.07.
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Drawing on recent innovations in detective criticism in France, this article broadens the quest to exonerate Poe’s famous orang-utan and argues that the Urtext of modern Anglo-American crime fiction is simultaneously a rejection of linguistic dominance (of English in this case) and an apologia for modern languages. This promotion of linguistic diversity goes hand in hand with the wilful non-self-coincidence of Poe’s detection narrative, which recalls, and pre-empts, the who’s-strangling-whom? paradox of deconstructionist criticism. Although “The Murders in the Rue Morgue” is prescient, founding modern crime fiction for future generations, it is entwined with a nineteenth-century tradition of sculpture that not only poses men fighting with animals but also inverts classical scenarios, thereby questioning the binary of savagery versus civilization and investing animals with the strength to kill humans while also positing them as the victims of human violence.
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Selim, Samah. "Toward a New Literary History." International Journal of Middle East Studies 43, no. 4 (November 2011): 734–36. http://dx.doi.org/10.1017/s0020743811000973.
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The past twenty years witnessed a dramatic transformation in Arabic literature studies in the United States. In the early 1990s, the field was still almost exclusively a satellite of area studies and largely bound by Orientalist historical and epistemological paradigms. Graduate students—even those wishing to focus entirely on modern literature—were trained to competence in the entire span of the Arabic literary tradition starting with pre-Islamic times, and secondary research languages were still rooted in the philological tradition of classical scholarship. The standard requirement was German, with Spanish as a distant second for those interested in Andalusia, but rarely French, say, or Italian or Russian. Other Middle Eastern languages were mainly conceived as primary-text languages rather than research languages. Philology, traditional literary history, and New Criticism formed the methodological boundaries of research. “Theory”—even when it purported to speak of the world outside Europe—was something that was generated by departments of English and comparative literature on the other side of campus, and crossings were rare and complicated in both the disciplinary and the institutional sense. Of course, one branch of “theory”—postcolonial studies—made its way into area studies much faster than the more eclectic offshoots of continental philosophy, for obvious reasons. From nationalism studies to subaltern studies, from Benedict Anderson to Gayatri Spivak, the wave of postcolonial critical theory that swept through U.S. academia in the 1980s and 1990s sparked an uprising in area studies at large and particularly in the literature disciplines. One of the first casualties of this uprising was the old historical paradigm itself: narratives of rise and fall, golden ages, and ages of decadence. Slowly but surely, scholars began to question the entire epistemological edifice through which Arabic literary history had been constructed by Orientalism. It was through the postcolonial theory of the 1980s that Arabic literature came to a broader rapprochement with poststructuralism: Foucault, Derrida, Ricoeur, Jameson, and White, to name a few of the major thinkers who began to transform the field in the late 1990s.
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CRAIG, DAVID M. "THE CROWNED REPUBLIC? MONARCHY AND ANTI-MONARCHY IN BRITAIN, 1760–1901." Historical Journal 46, no. 1 (March 2003): 167–85. http://dx.doi.org/10.1017/s0018246x02002893.
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In the last two decades historians have been increasingly interested in the modernization of the monarchy, and the nature of the republican threat. This review evaluates some of this recent literature. The first section argues that while Walter Bagehot's views about ceremony in The English constitution (1867) have influenced historical writing, these approaches do not yield much information about what the monarchy actually meant to people. The second section turns to the political powers of the monarchy, and examines the wide range of views about what the constitutional limits of royal power were. It also shows that even radical writers were often unable to dispel the monarchy from their imaginations. Finally, the review suggests that criticism of the royal family was not necessarily republican, and arose more from concern that particular figures were failing to conform to shared public values. Pure republicans were few, and did not usually focus their energies on the monarchy, but rather on the nature of parliamentary representation and the power of the Lords.
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Elias, Amy J. "Context Rocks!" Publications of the Modern Language Association of America 134, no. 3 (May 2019): 579–87. http://dx.doi.org/10.1632/pmla.2019.134.3.579.
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Searching for the phrase “appreciation of literature” in Google's Ngram Viewer shows that the phrase reached its peak usage in English publications between 1936 and 1937 and then nosedived after those years. It's interesting to speculate about what came together at that time. In 1937, DC Thomson published the first issue of The Dandy, one of the best selling comics in the history of British pop culture and the third-longest-running comics in the world; Daffy Duck debuted in the animated short Porky's Duck Hunt, directed by Tex Avery for the Looney Tunes series; and Detective Comics commenced publication. A year later, Superman went public. But 1937 also was the year that John Crowe Ransom left Vanderbilt University for Kenyon College and published “Criticism, Inc.” in The Virginia Quarterly Review. The target of Ransom's ire is “moralist” historical criticism, into which camp he puts actual morality purveyors, the new humanists and the new leftists (those purveyors of what we often now call symptomatic readings), and “personal registrations” or unfettered appreciation (597). While of course correlation is not causation, 1937 might mark an important fork in the subterranean lines in the United States, where the two trains of comics fandom and literary criticism begin to go in different directions, on trajectories that take them farther apart during and after World War II: comics toward the aesthetics of appreciation, and criticism to increasingly professionalized literary analysis. Critics today seem to be returning to this junction, asking how comics and criticism might reunite. Perhaps that convergence is happening now, through approaches variously known as surface reading (Best and Marcus), reparative reading (Sedgwick), close reading, postcritique (Felski, Limits), thin description (Love), or redescription (Latour)—each of which encourages professionalized critical appraisal without taking rolling stock into dead-end symptomatic tunnels. Perhaps it is through some other approach, one that may look like Hillary Chute's Why Comics?
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Burney, Fatima. "Strategies of Sound and Stringing in Ebenezer Pocock's West–East Verse." Comparative Critical Studies 17, no. 2 (June 2020): 319–36. http://dx.doi.org/10.3366/ccs.2020.0365.
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In an effort to capture how Orientalist translations, imitations and criticism of Asian poetry came to inform the idealization of lyric as a universal genre, this paper focuses on the practice of poetic metre in the nineteenth century. How did Victorian conceptions of recitational communities, bounded by shared ‘national’ metres, square against the wealth of translated works that were a major component of Victorian print culture? The amateur Orientalist Ebenezer Pocock explained various metres and musical practices associated with ‘Persian lyrics’ in his book Flowers of the East (1833) and offered equivalent metres in English before replicating these shared English/Persian metres in his own imitative poem ‘The Khanjgaruh: A Fragment’. This article sketches how Pocock's casting of this hybrid material in metres that would already have been recognizable to his English readers seems to have the intended effect of both orienting his work towards his domestic audience and grounding such a flexible approach within the Persian tradition itself. Pocock's poem sits amongst a range of accompanying materials including translations of Sa‘dī and scholarly essays on comparative philology and Persian literary history. Each of these different pieces supports the collection's greater effort – best encapsulated by ‘The Khanjgaruh’ – to both remember and imagine the shared poetic history between Asia and Europe. Pocock's writing thus emblemizes how the nineteenth-century ‘West–East lyric’ was a product of both historical and philological recovering as well as the willed creation of poets and poetry enthusiasts. As a category, lyric performs a binding function in Pocock's work to pull together a linguistically and professionally diverse community of writers.
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Roberts, David. "Ravishing Strides: Signs of the Peripatetic in Early Modern Performance." New Theatre Quarterly 17, no. 1 (February 2001): 18–30. http://dx.doi.org/10.1017/s0266464x00014299.
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Actors' feet are accepted as part of their expressive equipment – but doubts are often expressed that this has always been so. The evidence of early English theatre history is adduced to suggest otherwise, while recent treatments of the peripatetic in literary studies argue that the ‘visible walk’ attains prominence only in the Romantic period. But David Roberts argues that, from the emergence of permanent theatres, walking offered a metonymy for performance which persisted throughout the seventeenth century. Cross-dressing highlighted the expressive potential of the feet, while close examination of play-texts implies evolving styles of the peripatetic in performance, and the scenic theatres of the Restoration frequently portrayed walking as a cultural activity bound up with the status of both actors and scenery in post-revolutionary London. David Roberts teaches English and Drama at University College Worcester, and has published widely on theatre and literature from 1550 to 1789. He leads an AHRB-funded project on theatre criticism.
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Wolwacz, Andrea Ferras. "TOM PAULIN'S POETRY OF TROUBLES." Organon 34, no. 67 (December 9, 2019): 1–23. http://dx.doi.org/10.22456/2238-8915.96943.
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This paper is part of my PhD thesis. It examines contemporary Northern Irish Literature written in English with the help of the theoretical approach of Irish Studies. It aims to introduce and make a critique of poetry written by Tom Paulin, a contemporary British poet who is regarded one of the major Protestant Irish writers to emerge from Ulster province. The thread pursued in this analysis relates to an investigation of how ideological discourses and the issues of identity are represented in the poet’s work. The author’s critical evaluation of existing ideologies and identities and his attempt to respond to them will also be analyzed. Four poems from three different collections are investigate. Paulin’s poems function as testimonies, denouncement and criticism of the Irish history.
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Trussler, Simon. "English Acting, Interactive Technology, and the Elusive Quality of Englishness." New Theatre Quarterly 12, no. 45 (February 1996): 3–5. http://dx.doi.org/10.1017/s0266464x0000957x.
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Acting style is arguably the most elusive of the theatre's always ephemeral traces – not least because each generation, while proclaiming its own actors to be more ‘natural’ than their predecessors, has tended in its criticism, as in actors' memoirs, to take style as a ‘given’. Anecdotage and plot synopsis have accordingly taken precedence over analysis of how performers actually worked and appeared on stage – let alone prepared their performances. Here, Simon Trussler introduces a project being launched at Goldsmiths, University of London, where he is Reader in Drama, to utilize the immense storage capacity of the CD-ROM both to record the evidence, verbal and pictorial, that has come down to us from the past, and to assess its relevance to present approaches to acting and to the playing of the classical repertoire. Specifically, the project aims to explore the ways in which the national identity – the quality of ‘Englishness’ – has been both reflected in and influenced by the ways in which it has been rendered on stage. In the succeeding article, Nesta Jones outlines the history and development of the English acting tradition, and some of the issues its consideration raises in relation to the Goldsmiths project. Simon Trussler was one of the founding editors of the original Theatre Quarterly in 1971, and has been co-editor of New Theatre Quarterly since its inception. The most recent of his many books on theatre and drama, The Cambridge Illustrated History of British Theatre, was runner-up for the 1994 George Freedley Award of the Theatre Libraries Association, being cited as ‘an outstanding contribution to the literature of the theatre’.
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Tkachuk, Olena. "MULTICULTURALISM BY CONRAD-EMIGRANT." Polish Studies of Kyiv, no. 35 (2019): 376–80. http://dx.doi.org/10.17721/psk.2019.35.376-380.
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The article is devoted to the problem of the multiculturalism by Joseph Conrad, the English writer and the world classic of the 20th century, who, due to the preservation of his Polish national-cultural identity, and by estrangement from this identity in his artistic consciousness, was able to influence the intellectual and artistic atmosphere in England of his times. In this way, the Polish identity became a background for Conrad’s artistic creativity, and at the same time, universal values and criteria were the key to the successful acculturation in English society in its one of the most effective strategies – the integration strategy. In this case Conrad acquired another national-cultural identity, English, – while retaining his native, Polish. Undoubtedly, one of the most important issues touched by almost all researchers is his arrival in English literature, a Pole in origin, who only arrived in England in the twenty-first year, actually emigrating, and for a very short time becaming a venerable writer. It should be noted that, taking into account the peculiarities of English mentality, the task was rather uneasy. All this undoubtedly led to the development of a variety of approaches to understanding the creative personality and rich heritage of Joseph Conrad. Foreign literary and critical academic circles, which introduced the concept of «new English literature» (meaning the post-colonial period), do not take into account such figures of the English literary process as Joseph Conrad, whose work falls out of its chronological framework, and indicates that multicultural literature appeared on the approaches to the twentieth century. However, only nowadays it was possible that such an approach was based on the principles of multiculturalism, that is, the phenomenon justified in the 90s of the XX century, although, as the majority of scholars testify, it existed for a long time in cultural studies, literary criticism, art history and philosophy. We have chosen this approach. The research is devoted to the study of the problems of national-cultural identity by Joseph Conrad, as well as the mechanism of his acculturation in the conditions of emigration.
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Massai, Sonia. "Stage over Study: Charles Marowitz, Edward Bond, and Recent Materialist Approaches to Shakespeare." New Theatre Quarterly 15, no. 3 (August 1999): 247–55. http://dx.doi.org/10.1017/s0266464x0001304x.
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The flurry of Shakespearean adaptations in the 1960s and 1970s represents a significant yet largely neglected chapter of recent cultural history. This article assesses two of the more enduring adaptations – Edward Bond's Lear (Royal Court Theatre, 1971) and Charles Marowitz's Measure for Measure (Open Space Theatre, 1975) – in order to show how these controversial texts anticipated later mainstream critical approaches which still affect our reception of Shakespeare in the late 1990s. Several parallels between Marowitz and Bond's adaptations and recent materialist readings of their Shakespearean sources suggest that the adaptors anticipated the critics, and that both sought meaning from their Shakespearean originals by focusing on certain aspects of the text and by disregarding others. By demonstrating that whilst Marowitz and Bond's adaptations should best be regarded as a form of stage-centred criticism, Sonia Massai suggests that literary critical approaches inevitably reflect an arbitrary and historically determined appropriation of the Shakespearean original. Sonia Massai is a Lecturer in English Studies at St. Mary's, Strawberry Hill, a College of the University of Surrey. She has published articles on Shakespearean adaptations in Studies in English Literature, Analytical and Enumerative Bibliography, and in a special issue of Textus: English Studies in Italy. She is currently collaborating with Jacques Berthoud on the New Penguin edition of Shakespeare's Titus Andronicus.
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Momma, Haruko. "John D. Niles, Old English Literature: A Guide to Criticism with Selected Readings. (Blackwell Guides to Criticism.) Chichester, UK, and Walden, MA: Wiley Blackwell, 2016. Paper. Pp. xv, 336. $49.95. ISBN: 978-0-6312-2057-2." Speculum 95, no. 2 (April 1, 2020): 601–2. http://dx.doi.org/10.1086/708045.
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Gemici, Kurtuluş. "South Korea during the Park Chung Hee Era: Explaining Korea’s Developmental Decades." Asian Journal of Social Science 41, no. 2 (2013): 175–92. http://dx.doi.org/10.1163/15685314-12341297.
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Abstract Despite the voluminous literature on South Korea’s rapid economic development and social transformation in the 1960s and 1970s, the literature in English on Park Chung Hee — the political figure who indelibly marked this era — is still lacking. Furthermore, the existing studies approach the subject of Korea’s fateful decades from general theoretical perspectives, such as the developmental state. This approach inevitably flattens out historical particularity in the process. A recent edited volume, The Park Chung Hee Era: The Transformation of South Korea, fills these gaps by bringing political history back into the study of Korean modernization. The goal of this review essay is a critical evaluation of this volume’s contribution to scholarship on South Korea. It is posited that The Park Chung Hee Era throws light on topics such as Park’s leadership that have been hitherto neglected in the analysis of arguably the most consequential decades in the history of South Korea. However, while the edited volume mounts an effective criticism of existing perspectives on Korea’s developmental decades under Park Chung Hee’s rule, it is less successful in offering a consistent framework to analyze different causal factors shaping the Korean trajectory of economic development.
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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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Prytoliuk, Svitlana. "CONCEPTUALIZATION OF THE NOTION “MAGICAL REALISM” IN GERMAN LITERATURE." Research Bulletin Series Philological Sciences 1, no. 193 (April 2021): 252–59. http://dx.doi.org/10.36550/2522-4077-2021-1-193-252-259.
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The article is devoted to the study of magical realism in German literary criticism, the origins of the term and its conceptual principles are considered. The author of the article relies on the research of German scientists, in particular M. Scheffel, D. Kirchner, H. Roland, T.W. Leine, M. Niehaus, J. Schuster and notes the differences and contradictions in the interpretation of the term, the vagueness of the concept and its heterogeneity. It is emphasized that the period of formation of the magic-realistic method of writing in Germany in the historical perspective generally covers the period from 1920 to 1960 and includes the beginning of the era of National Socialism and the Second World War. In German literature, the term was not immediately established, its assertion and dissemination were hampered by several factors: first, its contradiction, because it combines semantically opposite concepts – “realism”, which directly correlates with reality, the true image of reality, and “magical”, based on the supernatural, fantastic, reaching beyond reality; second, the moment of its origin falls on a rather complex and contradictory period of German history, which is reluctantly mentioned or silenced; third, magical realism has sometimes been mistakenly identified with the notion of “Neue Sachlichkeit”. Analysis of all factors shows that the origin and formation of the magic-realistic method in German literature has its own characteristics and uniqueness and differs from the world-famous examples of Latin American or English literature. As a result, the author notes that German magical realism is historically determined and in many of its examples reflects the traumatic postwar experience with a pronounced inrospectivity and humanistic orientation. As an aesthetic concept, magical realism expands the boundaries of realism: by depicting the objective world in its real dimensions, it focuses its gaze on the unreality hidden behind real objects.
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Walhout, M. D. "F. O. Matthiessen and the Future of American Studies." Prospects 22 (October 1997): 1–34. http://dx.doi.org/10.1017/s036123330000003x.
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Now that the Soviet empire has collapsed, it is time for a fresh look at the victims of the oppositional “Cold War criticism” that came to dominate American Studies in the 1980s. Hoping to stem the tide of the Reagan Revolution, the “New Americanists,” as Frederick Crews dubbed the academic heirs of the New Left, instigated a sweeping critique of their own discipline, charging the founders of American Studies with complicity in imperialism abroad and McCarthyism at home. Of all the founders, none was interrogated more thoroughly than F. O. Matthiessen, long regarded as the very model of a critic for whom radical politics and academic criticism were not mutually exclusive commitments. As late as the early 1980s, critics were still hailing Matthiessen as a pioneer in the development of American Marxist criticism. Frederick Stern, for example, asserted that Matthiessen's “methodology as a critic, though not in any pure sense Marxist…, comes closer to some of the distinguished efforts of the Marxist critics of Europe than does the work of just about any other major American critic of Matthiessen's time” (44). Similarly, Leo Marx argued that “in his subtle treatment of the interplay between literature and society, Matthiessen in a sense anticipated the development of a more supple Marxist cultural and literary theory since its liberation from the rigid doctrinal cast of the Stalin era” (256). Yet it was also in the early 1980s that the first blow to Matthiessen's reputation was struck in The American Renaissance Reconsidered, a collection of papers from the English Institute whose title, echoing that of Matthiessen's magnum opus, announced the beginning of an ambitious campaign to revise the history of American Studies – a campaign that proved to be quicker and easier than anyone could have expected.
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Kinkley, Jeffrey C. "The Monster That Is History: History, Violence, and Fictional Writing in Twentieth-Century China. By David Der-Wei Wang. [Berkeley, Los Angeles and London: University of California Press, 2004. 402 pp. ISBN 0-520-23140-6.]." China Quarterly 182 (June 2005): 439–41. http://dx.doi.org/10.1017/s0305741005270261.
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This celebration of modern Chinese literature is a tour de force, David Wang's third major summation in English. He is even more prolific in Chinese. Wang's command of the creative and critical literatures is unrivalled.Monster's subject is “the multivalence of Chinese violence across the past century”: not 1960s “structural violence” or postcolonial “epistemic violence,” but hunger, suicide, anomie, betrayal (though not assassination or incarceration), and “the violence of representation”: misery that reflects or creates monstrosity in history. Monster thus comments on “history and memory,” like Ban Wang's and Yomi Braester's recent efforts, although for historical reasons modern Chinese literature studies are allergic to historical and sociological methodologies.Monster is comparative, mixing diverse – sometimes little read – post-May Fourth and Cold War-era works with pieces from the 19th and 20th fins de siècle. Each chapter is a free associative rhapsody (sometimes brilliant, sometimes tedious; often neo-Freudian), evoking, from a recurring minor detail as in new historicist criticism, a major binary trope or problematic for Wang to “collapse” or blur. His forte is making connections between works. The findings: (1) decapitation (loss of a “head,” or guiding consciousness?) in Chinese fiction betokens remembering or “re-membering” (of the severed), as in an unfinished Qing novel depicting beheaded Boxers, works by Lu Xun and Shen Congwen, and Wuhe's 2000 commemoration of a 1930 Taiwanese aboriginal uprising; (2) justice is poetic, but equals punishment, even crime, in late Qing castigatory novels, Bai Wei, and several Maoist writers; (3) in revolutionary literature, love and revolution blur, as do love affairs in life with those in fiction; (4) hunger, indistinct from anorexia, is excess; witness “starved” heroines of Lu Xun, Lu Ling, Eileen Chang and Chen Yingzhen; (5) remembering scars creates scars, as in socialist realism, Taiwan's anticommunist fiction, and post-Mao scar literature; (6) in fiction about evil (late Ming and late Qing novels; Jiang Gui), inhumanity is all too human and sex blurs with politics; (7) suicide can be a poet's immortality, from Wang Guowei to Gu Cheng; (8) cultural China's most creative new works invoke ghosts again, obscuring lines between the human, the “real,” and the spectral.
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Peyre, Henri. "1960: Facing the New Decade." PMLA/Publications of the Modern Language Association of America 115, no. 7 (December 2000): 1862. http://dx.doi.org/10.2307/463587.
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If ours is a young man's world, it is also a woman's world. Some of us who are fortunate to have women among our graduate students and as young colleagues are extraordinarily impressed by the high level of their work. Indeed, we often wonder if criticism will not make substantial strides forward, blending the cognitive and the affective values, taste and a rational approach, the logic of the intellect and that of the heart, only when women take over a large share of it, as they are now out-numbering men as teachers of English and of languages in many schools. This country witnessed a bold feminist movement several decades ago. The second sex then conquered all the rights and courageously accepted corresponding duties. College presidents in women's colleges were in many cases women. In anthropology, archeology, psychology several American women have been outstanding. So have they been in journalism. Why not to the same extent today in philology, medieval studies, literary history, criticism? Are men to blame, wary of these potential rivals, preferring to utilize women's generosity and their capacity for devoted attachment by keeping them as secretaries and obedient confidents of their profound male cogitations? Have women put so much energy in once winning equality and security that they are now content to enjoy these rights, and to look upon maternity and procreation without tears and without anesthesia as their sole vocation? Men in any case have the duty to make room for them, to incite them to express themselves more boldly, to elect them to more positions of power in this Association and in others, to ask them for the healthy challenge which our duller brains need to receive from their keener perceptiveness in matters of art and literature.
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WEBSTER, SARAH. "Estate Improvement and the Professionalisation of Land Agents on the Egremont Estates in Sussex and Yorkshire, 1770–1835." Rural History 18, no. 1 (March 16, 2007): 47–69. http://dx.doi.org/10.1017/s0956793306002019.
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The role of land agents in the management and improvement of English landed estates between 1770 and 1850 is examined in this paper. The focus is on the responsibilities of land agents, their contribution to agricultural improvement, and in particular the validity of a thesis of the professionalisation of agents during this period. The Petworth House archives are used to compare the work of two legal agents at Petworth in Sussex with that of a professional land agency firm in Yorkshire, both employed by the third Earl of Egremont (1751–1837). This study suggests that the role of land agents in agricultural improvement at Petworth was limited to the financial, legal and political aspects of these developments rather than practical management. It proposes that legal agents remained more influential than has been supposed, even on estates renowned for agricultural improvement, and despite contemporary criticism that emphasised the importance of applied agricultural expertise. The belated professionalisation of the Petworth agents and the significant differences in their roles when compared with contemporary and historical accounts suggests that estate management was therefore far more diverse than is suggested in some recent literature.
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Farkas, Márton. "Lukács in Self-Translation: The Necessity of Contingency in The Soul and the Forms." October 161 (August 2017): 23–41. http://dx.doi.org/10.1162/octo_a_00302.
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A series of meditations on history and criticism, György Lukács's The Soul and the Forms appeared first in Hungarian in 1910 and then in German in 1911—arguably having been translated by the author himself, as a work of mourning. Despite renewed interest in the work, English-language editions have been taken from the German translation and barely consider the Hungarian version. This essay argues that an exemplary skirmish takes place in translation between the Hungarian and the German texts, as Lukács shifts from an Epicurean-Lucretian to a Stoicist view of causality. Not unlike in the early notebooks of Marx, a materialist Lukács can be located in his first collection of essays, despite the fact that it is usually pigeonholed as part of his grand idealist phase. Farkas is particularly interested in how Lukács's self-translation washes over a Romantic concept of irony as Lukács posits the necessity of a mixture of necessity and contingency as the origin of the critic's irony, a move that undermines his own non-totalizing view of irony as a structural principle of the novel in his 1917 work The Theory of the Novel.
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Fergusson, Peter, and Stuart Harrison. "The Rievaulx Abbey Chapter House." Antiquaries Journal 74 (March 1994): 211–55. http://dx.doi.org/10.1017/s0003581500024434.
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The chapter house (figs, i, 2) is the most puzzling of the buildings that survive at Rievaulx Abbey, North Yorkshire — the Cistercians's first foundation in the north of England. A reconstruction based on the ruined remains shows a two storey interior supported on cylindrical columns, lower flanking aisles, and an apsed termination with a hemicycle and surrounding ambulatory (figs. 3, 4). No other chapter house in England or France shares these features. As a consequence the building has been ignored in the literature for the most part, or drawn criticism on account of its divergence from Cistercian norms. Gardner (1976, 106 n. 103), for example, in his wide-ranging study of English chapter houses categorized it as ‘bizarre’ and Gilyard-Beer (1978, 34) judged it a ‘remarkable lapse’ from Cistercian austerity. Yet the building merits greater attention. It survives as the oldest example in England of a Cistercian chapter house, a building type which, except for the conventual church, ranked as the most important in the entire monastic complex. Moreover, the visible remains can be dated to the brilliant rule of Rievaulx's third abbot, Ælred (1146–67), the pre-eminent pastoral master and spiritual writer of the High Middle Ages in Britain, under whom the community grew to the largest in the country with 640 men. Ælred's role as patron raises important questions, therefore, about the building's sources and meaning.
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Lapidge, Michael. "The archetype ofBeowulf." Anglo-Saxon England 29 (January 2000): 5–41. http://dx.doi.org/10.1017/s0263675100002398.
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It is a cardinal tenet of classical textual criticism that medieval scribes were most prone to error when copying from an unfamiliar system of script. Accordingly a good deal of attention has been given by classical scholars to what happens to a text when it is copied from one system of script to another, and to the characteristic sorts of error which such copying involves. The great French textual critic, Alphonse Dain, even coined a Greek term,metacharakterismos(μεταχαρακτηρισμός), to describe the scribal process of copying, character by character, from one script to anodier. (The Latin equivalent would betranslitteratio, which might be rendered ‘transliteration’ in English.) Dain was thinking principally of the transliteration of Greek uncial manuscripts into minuscule script; but the process is also known to have taken place in the transmissional histories of Latin texts, when works of classical literature in (say) rustic capital script were transliterated into the various regional minuscules. By observing patterns of repeated error, Latin textual critics have often been able to demonstrate that the archetype of such-and-such a text must have been written in a particular system of script. The first attempt at such a demonstration was apparently that by the humanist scholar Joseph Scaliger (1540–1609), who in hisCastigationes in Catullum(1577) showed that the archetype of all surviving manuscripts of Catullus was written in what he calledLangobardicae litterae, what we should describe as a form of pre-Caroline minuscule.
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Diaper, Jeremy. "Farming and Agriculture in Literary Modernism." Modernist Cultures 16, no. 1 (February 2021): 86–113. http://dx.doi.org/10.3366/mod.2021.0321.
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This article seeks to cultivate a better understanding of the influence of agriculture and farming on literary modernism. It begins with a brief analysis of agriculture in the work of Vita Sackville-West and Virginia Woolf, before exploring the significance of farming in relation to Ford Madox Ford, John Middleton Murry and T. S. Eliot. Following on from this initial consideration of literary modernism and agriculture, it then proceeds to investigate Ezra Pound's position within environmental modernism, through exploring the influence of the organic husbandry movement on his social and political criticism. In particular, it examines Pound's active engagement with notable organic magazines of the period including the New English Weekly (to which Pound contributed over 200 pieces between 1932–1940 and authored its ‘American Notes’ in 1935) and the Townsman. Through an examination of Pound's affiliation with the organic movement, it will illustrate that their mutual agricultural concerns were invariably connected to the wider financial considerations of economic and monetary reform, including the social credit theories of Major C. H. Douglas.
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Reeve, Michael. "Cuius in Usum? Recent and Future Editing." Journal of Roman Studies 90 (November 2000): 196–206. http://dx.doi.org/10.2307/300207.
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In 1993 Michael Winterbottom remarked that we have reached ‘what may be the last decades of the systematic editing of classical texts’. If he was right, what has been dwindling: capacity, interest, scope, or confidence?When editors' prefaces include such Latin as ‘ad huius operis finem … longdudum exspectatum’ (1983), ‘non solum hominibus, sed ne libris quidem non pepercit’ (1991, of the War), ‘ex Italia, ut Munk Olsen videtur, ortus’ (1997), or ‘latet uel peritus’ (1997, of an untraced manuscript), it is tempting to blame incapacity, and to blame that in turn on a decline of interest in Latin and more narrowly in textual criticism. Not just a laudator temporis acti se puero could document the decline by looking at statistics and syllabuses; but there would be widespread agreement that in so far as textual criticism has given way to greater concern with content its proportional decline is no bad thing. Relevant too, some would say, is the decline of composition; but I am not convinced by either the obvious or the deeper reason that they give. Obviously, a preface should not be the first thing, or the first thing for thirty years, that the editor composes in Latin. Need it be, though? Lloyd-Jones and Wilson chose English in their O.C.T. of Sophocles (1990), and Green has now followed their example in a Latin O.C.T., his very handy editio minor of Ausonius (1999). Anyone who takes the view expressed to me by a distinguished German Latinist, that by abandoning Latin in prefaces one cuts off the branch that one is sitting on, should answer Merkelbach's charge that the policy of writing the notes in Latin has held up Inscriptiones Graecae. At a deeper level, composing in a language is said to be the best way of learning it; but surely reading large amounts of it observantly is just as good or better, unless the distinction between active and passive knowledge of a language holds only for the modern languages that one reads comfortably and sometimes makes a pitiful attempt to speak. Even without mystical claims for the value of composition, declining knowledge of Latin is quite enough of a threat to editing.
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Sebregondi, Giulia Ceriani. "“Ars sine scientia” or rather “Ars sine geometria”? The debate of 1400 on the elevation of Milan cathedral." Resourceedings 2, no. 3 (November 12, 2019): 65. http://dx.doi.org/10.21625/resourceedings.v2i3.627.
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The construction of Milan Cathedral from 1386 was one of the most important episodes in the history of Italian and European architecture because of the uniqueness of the building itself — the largest Gothic church ever constructed in Italy — and because of the presence of some of the most authoritative architects of the late Fourteenth and Fifteenth centuries in Europe (Lombard, French, German).The documentation about the discussions on how to build the Duomo in the late Trecento and early Quattrocento, especially on the structural choices to be made and the different Lombard and Northern building-site practices, made famous to English readers in a celebrated article by James Ackerman, is extraordinarily rich and extensive, permitting considerations on the relationship between medieval architectural ideals and an actual project.The paper focuses on the famous discussions of 1400, in part a re-run of those of 1392. It will be argued that famous criticism by the French expert Jean Mignot of Milanese architects involving the terms ars and scientia could have a very different meaning from the one generally accepted in the literature. Consequently, it will result that Mignot wanted to return to the original project proposed by Gabriele Stornaloco, which embodied the desired correspondence between the sacred architecture and the perfect God’s world.All of which, could be of some interest to medievalists in general, and to those concerned with architectural theory and with the relationship between Gothic architecture and literature in particular.