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1
Kachorovskaya, A. E. "On the Reception of the Myth of Prometheus in Austrian Literature of 19th-20th Centuries." Nauchnyi dialog, no. 3 (March 30, 2020): 221–35. http://dx.doi.org/10.24224/2227-1295-2020-3-221-235.
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This article focuses its attention on the motive of resistance characteristic of Austrian literature of the 19th - 20th centuries, which is considered from the point of view of the historical and literary relationship with the myth of Prometheus. The history of the issue is reviewed. A selective analysis of the versions of the Promethean myth in the Austrian historical and literary context of the 19th-20th centuries, which is part of the pan-European literary and philosophical heritage, is given. The stylistic and genre originality of Austrian interpretations of the myth of Prometheus is proved on the basis of a study of a number of works. The artistic reception of the image of Prometheus in the poem by Z. Lipiner "Liberated Prometheus", little studied in Russian literary criticism is considered in the article. Attention is paid to the version of the Promethean myth in the literature of Austrian Art Nouveau (on the example of F. Kafka's little prose). The issue of conflicting trends in the development of Austrian literature of the 20th century, affecting the interaction of the motive of resistance with the Promethean myth, is investigated by the example of M. Gruber's essay. The correlation of the Austrian versions of the motive of resistance with the myth of Prometheus is proved. The results of the study confirm the significance of the Promethean myth in the Austrian reception of the 19th-20th centuries, which has more pronounced features of drama and theatricality in relation to the European context.
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Vasic, Aleksandar. "The beginnings of Serbian music historiography: Serbian music periodicals between the world wars." Muzikologija, no. 12 (2012): 143–64. http://dx.doi.org/10.2298/muz120227007v.
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The transition of the 19th into the 20th century in Serbian music history was a period of music criticism, journalism and essay writing. At that time, Serbian musicology had not yet been developed as an academic discipline. After WWI there were many more academic writings on this subject; therefore, the interwar period represents the beginning of Serbian music historiography. This paper analyses Serbian interwar music magazines as source material for the history of Serbian musicology. The following music magazines were published in Belgrade at the time: Muzicki glasnik (Music Herald, 1922), Muzika (Music, 1928-1929), Glasnik Muzickog drustva ?Stankovic? (Stankovic Music Society Herald, 1928-1934, 1938-1941; from January 1931. known as Muzicki glasnik /Music Herald/), Zvuk ( Sound, 1932-1936), Vesnik Juznoslovesnkog pevackog saveza (The South Slav Singing Union Courier, 1935-1936, 1938), Slavenska muzika ( Slavonic Music, 1939-1941), and Revija muzike (The Music Review, 1940). A great number of historical studies and writings on Serbian music were published in the interwar periodicals. A significant contribution was made above all to the study of Serbian musicians? biographies and bibliographies of the 19th century. Vladimir R. Djordjevic published several short biographies in Muzicki glasnik (1922) in an article called Ogled biografskog recnika srpskih muzicara (An Introduction to Serbian Musicians? Biographies). Writers on music obviously understood that the starting point in the study of Serbian music history had to be the composers? biographical data. Other magazines (such as Muzicki glasnik in 1928 and 1931, Zvuk, Vesnik Juznoslovenskog pevackog saveza, and Slavenska muzika) published a number of essays on distinguished Serbian and Yugoslav musicians of the 19th and 20th centuries, most of which deal with both composers? biographical data and analysis of their compositions. Their narrative style reflects the habits of 19th-century romanticism and positivism: in some of these writings the language also has an aesthetic function. Serbian interwar music magazines also published some archival documents contributing to the future research of Serbian music history. Interwar period in the then Yugoslavia was a time of rapid development and modernization in various fields of culture. There was a great demand for music writings of general interest. Therefore, Revija muzike (January - June 1940) was totally oriented towards the popularization of music and the arts (such as drama and film). This magazine also published some popular articles on music history. Serbian interwar music periodicals were least active in the field of musicological analysis. However, in 1934, Branko M. Dragutinovic published a detailed analytic study of Josip Slavenski?s composition Religiofonija (Religiophonics) in Zvuk. There were also some interdisciplinary history articles in Serbian interwar music magazines. Being well aware of the fact that music history comprises not only music itself, but also music writing, schools, institutions and music life, our music writers used ?indirect? sources, such as literature and art, as well as music. Serbian interwar music periodicals opened many fields of research, thus blazing a trail in postwar Serbian musicology.
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Vojvodić Nikolić, Dina D. "PREDLOG ODREĐENjA POJMA MUZIČKA KRITIKA I TIPOLOGIJE KRITIČKIH TEKSTOVA MEĐURATNOG DOBA U SRBIJI." Nasledje Kragujevac XX, no. 55 (2023): 299–312. http://dx.doi.org/10.46793/naskg2355.299vn.
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The paper presents a proposal for defining the concept of music criticism and types of critical texts. The historical development of music criticism, its problems, methods, goals and main representatives are presented. The history of music criticism is ideologically connected with music, and primarily appeared in occasional publications. Criticism of musicians began continuously in the middle of the 18th century, when the first open discussions on various issues of music appeared. Jean-Jacques Rousseau, Johann Mattheson and Charles Burney stand out among the first music critics. The last years of the 18th and the beginning of the 19th century were marked by change, and now the main patron of music, and therefore of criticism, became the middle class and not the previous aristocracy. It is important to apostrophize the fact that criticism of the 18th century was predominantly focused on vocal music, while instrumental music had a subordinate place. Vocal music, according to the aesthetic concepts of the time, represented the pinnacle of musical expression, and criticism had the task of continuously and tirelessly promoting it. In the 19th and 20th centuries, the situation changed, and instrumental music gained a prominent place in criticism.
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Гарбузюк, Майя. "Бунт Хмельницького Ало'п'за Гонзаги Жулковського перша драма про укра'п'нського гетьмана на польській сцені XIX CT." Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe 1, no. 1 (2015): 109–22. http://dx.doi.org/10.15804/pomi201507.
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Khmelnytsky's uprising written by Aloyizy Honzaha Zhulkovskyi is the first drama about Ukrainian hetman on the Polish stage of the 19th century. It was created in 1812 and had short stage run but was never printed. Text preserved in the National Museum Library of Warsaw is the earliest drama text of 19th century devoted to Bohdan Khmelnytskyi. The emerging of this text can be interpreted as the beginning of pre-romantic tendencies and rising interest in history of Ukrainian-Polish relations and Cossack epoch. At the same hme, the play was as relevant as ever because there exists a strong desire of playwrights to respond to im- portant social and polih'cal problems of that b'me.
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Carpenter, Alexander. "Towards a History of Operatic Psychoanalysis." Psychoanalysis and History 12, no. 2 (July 2010): 173–94. http://dx.doi.org/10.3366/pah.2010.0004.
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This paper examines the history of the trope of psychoanalytic therapy in musical dramas, from Richard Wagner to Kurt Weill, concluding that psychoanalysis and the musical drama are, in some ways, companions and take cues from each other, beginning in the mid-19th century. In Wagner's music dramas, psychoanalytic themes and situations – specifically concerning the meaning and analysis of dreams – are presaged. In early modernist music dramas by Richard Strauss and Arnold Schoenberg (contemporaries of Freud), tacit representations of the drama of hysteria, its aetiology and ‘treatment’ comprise key elements of the plot and resonate with dissonant musical soundscapes. By the middle of the 20th century, Kurt Weill places the relationship between analyst and patient in the foreground of his musical Lady in the Dark, thereby making manifest what is latent in a century-spanning chain of musical works whose meaning centres, in part, around representations of psychoanalysis.
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Kuznetsova, Natalia I. "History of Science: Projects and Realities." Epistemology & Philosophy of Science 57, no. 3 (2020): 87–104. http://dx.doi.org/10.5840/eps202057344.
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The article analyzes the key methodological problems of the contemporary research in the field of the history of science. It is shown that in the 18th and 19th centuries works on the history of science demonstrated the difficult paths of scientists to the heights of scientific discoveries. The positivism of the 19th century has opened the field of the philosophy of science, emphasizing the crucial role of scientific knowledge for the development of civilization. The history of science is fundamental for the justification of this thesis. However, in the 20th century, the history of science has solved mainly applied problems. It was necessary as a cursory review of the main achievements of various scientific disciplines arranged in chronological order. In fact, the history of science was based on the cumulative concept of the development of science. The criticism of cumulatism and the fight against anti-historical stereotypes emerged thanks to T. Kuhn. Later, the criticism of presentism in the community of science historians has become the main methodology for reconstructing the development of cognition. It is shown in the paper that the history of science was closely connected with the philosophy of science. However, genuine cooperation between philosophers and historians of science had not yet occurred. The situation has changed with the advent of a new philosophical discipline – historical epistemology.
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Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.
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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.
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Todea-Sahlean, Diana. "The Evolution of Opera Performance from Scenographic Miracles to the Opera Productions of the Nineteenth Century." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (December 2021): 213–24. http://dx.doi.org/10.24193/subbmusica.2021.2.14.
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"The presentation of the book The Evolution of Opera Performance, from Scenographic Miracles to the Opera Productions of the 19th Century, offers a synthesis of our work as a musical theatre director. Our aim is to stimulate the public’s interest in the opera genre and opera staging, by revealing aspects in the history of opera performance(s), as they have been shaped, century after century, by following the gradual effort and the tireless passion of its creators. Our aims are also to illustrate the original charm and the infinite resources of this genre, which continues to delight the public at large and the knowledgeable even today. Keywords: opera performance, opera staging, liturgical drama, vernacular drama, secular drama, dramatic madrigal, intermedi, the Florentine Camerata, Claudio Monteverdi, comédies-ballets, tragédie en musique, semi-opera, opera seria, the comic opera, opera buffa, ópera comique, ballad opera, Singspiel, tonadilla, Wolfgang Amadeus Mozart "
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Mikhnovets, Nadezda G. "ARTICLE BY F.I. BUSLAEV “IMAGE OF THE LAST JUDGMENT ACCORDING TO THE RUSSIAN ORIGINAL OF THE 17TH CENTURY” IN THE CONTEXT OF TWO “THUNDERSTORMS” BY A.N. OSTROVSKY." Vestnik of Kostroma State University 29, S (November 15, 2023): 43–50. http://dx.doi.org/10.34216/1998-0817-2023-29-s-43-50.
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In the article, for the first time in the history of studying the drama “Thunderstormˮ and the libretto of the same name by A.N. Ostrovsky, a new source is introduced: the article by F.I. Buslaev “The image of the Last Judgment according to the Russian original of the 17th centuryˮ (1857). It is argued that Buslaev’s article played an important role in the process of creating the drama “Thunderstormˮ by Ostrovsky. It is proved that the original manuscript of the 17th century, published in Buslaev’s article, served as the basis for understanding and recreating in the drama the scale of the changes that took place in Russia in the middle of the 19th century. The special significance of the comparisons carried out by Buslaev between Byzantine, European and ancient Russian images of the Last Judgment is emphasized for the creator of the drama The Thunderstorm, who comprehends the phenomenon of transitional epochs in the centuries-old history of Russia. It is shown that in the problem-thematic structure of the libretto “Thunderstormˮ the event of the Last Judgment appears as a dominant. It is indicated that since the playwright’s acquaintance with Buslaev’s article and work on the drama “Thunderstormˮ, the seventeenth century has been in the center of Ostrovsky’s attention as a historiosophist.
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Fickers, Andreas. "Towards a New Digital Historicism?" Making Sense of Digital Sources 1, no. 1 (February 21, 2012): 19. http://dx.doi.org/10.18146/2213-0969.2012.jethc004.
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This article argues that the contemporary hype in digitization and dissemination of our cultural heritage – especially of audiovisual sources – is comparable to the boom of critical source editions in the late 19th century. But while the dramatic rise of accessibility to and availability of sources in the 19th century went hand in hand with the development of new scholarly skills of source interpretation and was paralleled by the institutionalization of history as an academic profession, a similar trend of an emerging digital historicism today seems absent. This essay aims at reflecting on the challenges and chances that the discipline of history – and the field of television history in particular – is actually facing. It offers some thoughts and ideas on how the digitization of sources and their online availability affects the established practices of source criticism.
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Sidoní López and Hanane Belali. "Native American Theater: A Concise History." Miscelánea: A Journal of English and American Studies 54 (December 15, 2016): 93–111. http://dx.doi.org/10.26754/ojs_misc/mj.20166882.
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This paper provides a concise and brief history of Native American theater from its beginnings in indigenous oral traditions to its consolidation in the 21st century. To start with, the essay will deal with the origins of American Indian theater in Native oral traditions through storytelling and its performance. The paper will then explore the dark period of Native American drama during the emergence of Native American writing in the 18th and 19th centuries. In like manner, the essay will deal with the emergence of contemporary Native American theater as a genre during the second part of the 20th century through the numerous and multiple Native theater companies and plays. Finally, the paper will conclude with the path towards the consolidation of contemporary indigenous theater during the new millennium and will attempt to shed light on the collections and anthologies of Native American plays, a considerable body of scholarship which has just started to gain momentum, and the promotion of the genre through different institutions, companies and festivals across the country. As will be demonstrated, although Native drama is a relatively new phenomenon in the American literary landscape, the history of its development is long, complex and still developing.
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Ebanoidse, Igor А. "Karl Jaspers’ “Question of German Guilt” in the Context of the German Self-Criticism." History of Philosophy Yearbook 27 (December 28, 2022): 36–57. http://dx.doi.org/10.21146/0134-8655-2022-37-36-57.
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On the example of German philosophical thought of the first half of the 20th century, the paper examines the problem of collective guilt of the nation for the actions of its state. Particular attention is paid to the formation of the revanchist ideology that led to the domination of National Socialism. The paper also addresses the history of the criticism of the German imperial statehood, which had developed by the end of the 19th century.
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Fomichev, Sergey A. "“Restless Man” in Russian Literature." Literary Fact, no. 21 (2021): 246–60. http://dx.doi.org/10.22455/2541-8297-2021-21-246-260.
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The article is devoted to the analysis of the type of characters in Russian classical literature, for which the author proposes the definition of “restless person” (by analogy with “superfluous” and “little man”). According to the observations of the author, “the nickname of a restless person” was first formally applied to the hero of one of the stories by V.I. Dahl (1842). A similar type (the type of Don Quixote), clearly manifested in the image of Chatsky from “Woe from Wit” by A.S. Griboyedov, became quite common in prose and drama of the 19th century. The article examines characteristic features of this type of literary characters in the heroes of A.N. Ostrovsky, N.S. Leskov and others, analyzes the perception of this type in Russian criticism, reflection by its writers, I.S. Turgenev, F.M. Dostoevsky, Maxim Gorky.
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Cohen, Matt. "Making the View from Lookout Mountain: Sectionalism and National Visual Culture." Prospects 25 (October 2000): 269–80. http://dx.doi.org/10.1017/s0361233300000661.
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Recent scholarship in the history of American art has uncovered the deep social, political, and economic context within which specific inividuals invented highly charged (and frequently contested) visions of the American landscape. Drawing attention away from the naturalizing tendency of criticism that emphasizes landscape painting as a reflection of national and transcendental ideals, this kind of analysis has brought new richness to the study of landscapes, weaving political and social history into the criticism of American art. Charting paintings as they function within the constellations of patronage, intellectual history, and reception, these new histories help us understand the cultural work of landscape in the 19th-century United States.
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Akhmedjanova, Kamila. "Trends in Intellectual Life in Central Asia in the 19th Century (Based on the Works of Nadira, Dilshod Barno and Ahmad Donish)." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 1 (2024): 210. http://dx.doi.org/10.31857/s086919080029438-8.
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This article will analyse trends in the development of intellectual life in Central Asia in the 19th century, based on the legacy of three writers. It will provide an overview of the state of the Central Asian khanates in the 19th century, as well as certain historico-political factors, which led to the emergence of the so-called Central Asian intellectual renaissance. Elements of social criticism are already present in Nadira’s (1792–1842) and Dilshod Barno’s (1800–1905) works. Furthermore, in the case of the latter, she produced not only poetry, but also prose, including her famous “Ta’rikhi muhojiron”, where she discussed the period of feudal wars between the Central Asian khanates. The second part of the article is dedicated to the legacy of Ahmad Donish (1827–1897), an intellectual who took part in three Bukharan embassies sent to Saint Petersburg. Special attention is paid to Donish’s most famous work – “Navodir ul-vaqoe’”, as well as to one of its chapters – “Risola dar nazmi tamaddun va taovun”, written in the ‘Mirrors for Princes’ genre. Donish’s “Risola yo mukhtasare az ta’rikhi saltanati khonadoni manghitiya” is also considered in this article. Both works demonstrate that Donish’s criticism of the political and social state of the Emirate of Bukhara was significant. His concept of progress was based on the correct interpretation of Sharia and on the observance of main Islamic traditions. Overall, this article will demonstrate the development of social criticism in the works of certain Central Asian writers who lived in the 19th century.
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Gluchman, Vasil. "Leibniz’s and Herder’s philosophy of optimism." Ethics & Bioethics 11, no. 1-2 (June 1, 2021): 37–47. http://dx.doi.org/10.2478/ebce-2021-0006.
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Abstract The author studies Leibniz’s views of vindicating God for the existence of evil in the world, as well as the idea of the best of all possible worlds, including the past and present criticism. Following Leibniz, he opted for the presentation of Herder’s philosophy of history as one of the most significant forms of philosophical optimism that influenced the first half of the 19th century, including contemporary debates on and critiques of the topic. He defines Herder’s concept as the philosophy of historical progress, which also significantly influenced Slovak philosophy of the given period. The main goal of the article is to present Leibniz’s and Herder’s views as a starting point for the Slovak philosophy of optimism and historical progress of the 18th century and the first half of the 19th century.
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Botunova,, H. Ya. "Organizational-pedagogical, scientific-research and theatrical-critical activity of A. V. Pletniov through the prism of time." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 9–40. http://dx.doi.org/10.34064/khnum1-51.01.
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The article deals with the main aspects of organizational-pedagogical, scientific- research and theatrical-critical activity of the candidate of art studies A. V. Pletniov. Little-known biographical data on the life of the theater scientist and the creative environment, in which his professional formation took place, are presented. It is noted that A. V. Pletniov was one of the first graduates of the State Institute of Theatrical Arts named after A. V. Lunacharsky (now – RUTM). He studied there in 1934–1938, surrounded by highly-qualified students, many of whom subsequently became the pride of Russian theater studies. A. V. Pletniov entered the history of the theatrical culture of Kharkiv as a talented scientist-researcher, a well-known theater critic and teacher. He stood at the origins of theater studies in Kharkiv and for almost 30 years he headed the department of the History of the Theater (now – the Department of Theater Studies) of the higher theater educational institution in the city. However, the value of his activity is much wider. The formation of the Kharkiv State Theater Institute is closely linked with the personality of A. V. Pletniov, since 1963 he wax also connected with the theater department of the Kharkiv Institute of Arts named after I. P. Kotliarevsky, and in general – with the theatrical culture of our city. However, until this time his organizational-pedagogical, scientific-research, and theatrical-critical heritage has not been properly investigated and objectively not covered. The purpose of the research is to analyze the organizational, pedagogical, scientific, research and theatrical-critical activity of A. V. Pletniov, writing it into the socio-political and artistic context of time and, at the same time, into the history of theater studies of Ukraine. A. V. Pletniov started his pedagogical activity in 1938 at the Kharkiv Theater School as a teacher of the history of the theater and the head of the educational department. With the beginning of the war, the school, which merged with the Kyiv State Theater Institute, was evacuated to the city Saratov, where A. Pletniov as a teacher worked until January 1942. From this time until the end of the war he was on the front in the field force. In 1945 he returned to the newly founded Kharkiv State Theater Institute and was immediately appointed Deputy Director of Educational and Scientific Work and a senior lecturer at the Department of History of the Theater. Together with the director of the institute Z. Smoktiy, A. Pletniov was making considerable efforts to organize the educational process in the time of economic trouble, lack of staff with the corresponding education, and provided basic conditions of work and education in the newly created higher education. Existing and new departments were supplemented and opened, the prominent artists from Kharkiv theaters and leading scientists from other universities were invited to work. Among them: D. Antonovych, O. Serdiuk, M. Krushelnytsky, O. Kramov, L. Dubovyk, V. Chystiakova and others. The peculiarity of the organization of research and methodological work was its focus on providing educational process. Several comprehensive topics on the methodology of actor education, stage language teaching, encyclopedic dictionary of theatrical terms, and a study on the history of theater development in Kharkiv were planned. It was at that time that several dissertations were planned, including A. Pletniov’s “Kharkiv Theater of the Second Quarter of the 19th Century”, which he successfully presented in 1952 in his alma mater – State Institute of Theater Art after A. V. Lunacharsky, and he was awarded a degree Doctor of Arts. In 1960, the completed dissertation study was published in the form of a monograph titled “At the Origins of the Kharkiv Theater”, which until now has not lost its relevance and is actively used in the educational process. In 1947, while being the Deputy Director of the Institute, A. Pletniov also headed the Department of Theater History. It was with him as the head of the department, the actual renewal of the department as a theatrical research center and methodological center began, it largely determined the main directions of its activities for the future. Under the direction of A. V. Pletniov, the department trained a lot of talented theatrical scholars who successfully worked and work as teachers of higher educational institutions, heads of literary units of creative groups, heads of leading theaters, heads of cultural management, members of mass media staff, well-known theatrical critics. A. Pletniov headed the department for almost 30 years – until 1976 (with a brief break in 1961–1962), giving a significant impetus to the development of theater studies in Kharkiv, in particular, theatrical criticism. He himself was actively involved in the illumination of the theatrical process in Kharkiv, leaving after himself dozens of highly professional reviews, articles, notes, sometimes controversial, bearing the imprint of time. The article emphasizes that A. Pletniov was one of the most skilled and highly educated teachers. He taught a whole range of theater studies disciplines: the history of Russian theater, the history of foreign theater, the theory of drama, theatrical criticism. Until the last years of his life, A. Pletniov conducted active scientific research, methodological, theatrical-critical and public activity. In 1968–1972, he was the Vice-Rector of the Kharkiv State Institute of Arts named after I. P. Kotliarevsky for the scientific work and theatrical department. In 1975, he finished a doctoral dissertation “From the History of the Establishment of the Soviet Theater in Ukraine”, in which he for the first time thoroughly recreated the extremely complex and multifaceted theatric life of Kharkov in the October decade (1917–1927) in the socio-cultural context, but he did not have time to defense this study. Nowadays this scientific work is striking by its multidimensional and enormous amount of material. Conclusions. As a result of the research was established that with A. Pletniov personality as a well-known teacher, a scientist and theater critic, one of the leaders of the Kharkiv Theater Institute (1945–1953), later the Kharkiv Institute of Arts named after I. P. Kotliarevsky, more than thirty years of theater education in Kharkiv were connected. Particularly remarcable the role of A. Pletniov was in the development of theater studies and theater education in such a significant theatrical center as Kharkiv, where he nearly thirty years was heading the specialized department of the history of theater (now the department of theater studies). It was under his leadership that a methodology for preparing theatrical scholars of a broad profile was formed, based on a high level of general culture and education of future specialists, on the possession of a wide spectrum of theatrical research tools. Despite some contradictions inherent in A. Pletniov’s scientific and theatrical- critical activity and reflected in his heritage, that was typical for most scholars of the humanitarian sphere of the 1930–1970s, he remains one of the decisive figures in the development of theater education and theater researches in Kharkiv. All the above motivates for a further, more profound study of the scientific-pedagogical and theatrical-critical activity of A. Pletniov and, more broadly, the development of theater studies in Kharkiv.
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Novella, Enric J. "Alexandre Brierre de Boismont and the limits of the psychopathological gaze." History of the Human Sciences 31, no. 3 (May 27, 2018): 41–59. http://dx.doi.org/10.1177/0952695118768375.
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One of the most remarkable implications of psychological medicine in the transition from the 18th to the 19th century was the advent of a new way of looking at the human being and new tools for analysing not only behaviour and individual experience, but also historical events, collective behavioural patterns or complex cultural achievements. Unsurprisingly, the deployment of this gaze could not advance without there being a series of disputes and controversies about its reach and the limits to its indiscriminate application. Focusing on the figure of French alienist Alexandre Brierre de Boismont and on the controversial cases of hallucinations and suicide, this article addresses the conflicts generated by the use of certain emblematic concepts and categories present in French psychological medicine throughout the central decades of the 19th-century, as well as the essentially ambivalent relationship of the psychopathological point of view with the criticism of a culture that was made responsible, then, as now, for a great number of psychological disorders and illnesses.
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Glinternik, Eleonora M. "Russian Design Graphics in Art Studies of the 19th–21st Centuries." Vestnik of Saint Petersburg University. Arts 13, no. 1 (2023): 166–87. http://dx.doi.org/10.21638/spbu15.2023.108.
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The article is devoted to the historiographic problem of domestic design graphics in the history of Russian art. The analysing sources are structured in accordance with the main stages of the development of graphic design in Russia. This approach allows to visually trace the evolution of art history in the context of the corresponding cultural and historical era. In chronological order, the article examines the following periods: 18th — early 20th century, an era that can be called the protodesign period; 1920s–1930s, a period of active development of a new professional model, interrupted for the next twenty years; 1960s–1990s, a period of professional self-determination; the first decades of the 21st century, when the digital age begins and new horizons of research open up. The characteristics of each period are given from the point of view of the development of graphic design as a phenomenon of artistic creativity. The paper’s novelty is determined by the topic itself: the specifics of design in general and graphic design in particular have not yet been studied. It takes into account, basically, the range of problems studied in the Russian conventional history of art. The main tasks of the work: to show the path of development of art criticism in the work of Russian researchers; to systematize the volume and problems of the latest studies of art history over the past decades; to contribute to the formation of a more complete picture of the authors and the amount of accumulated research material. The article shows the path of development of art criticism in the work of Russian researchers — from artistic-critical to historical-theoretical comprehension throughout the 19th and 21st centuries. The foundations of fundamental research of the late 20th — early 21st century are revealed are systematized for the first time.
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Rusu-Persic, Dalia. "Critical reception of late 19th century Iași-based music. Alexandru Flechtenmacher." Artes. Journal of Musicology 18, no. 1 (March 1, 2018): 190–206. http://dx.doi.org/10.2478/ajm-2018-0012.
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Abstract In late 19th-century periodicals, music criticism captured only a few details on the composition techniques, the structural organization, the rhythmic-melodic or vocal and stage interpretation of various performances. The press shed light on these pieces only at an informative level, mentioning titles, composers, and interpreters and even omitting some details due to, on the one hand, the authorities’ indifference to the musical phenomenon and, on the other hand, the editors’ sheer ignorance of particular stylistic or musical language features. However, the attempts made by the personalities active in the cultural and artistic life were real and unrelenting, their results being guided by the desire to promote music with specific national traits. This study provides an analytical perspective on the current reception of that social-artistic context. Taking into account that new sources have favored a more detailed and profound investigation of the 19th-century critical phenomenon, our analysis supplements the information presented in the music history studies already published in Romania. Consequently, the first section of this paper approaches the extremely dynamic phenomenon represented by the creation of new journals / newspapers in the 19th century. It is our belief that starting from general journalism we can acquire a better understanding of the development of musical criticism. This research aimed to discover new dimensions of Iași-based music, placing special emphasis on the critical reception of the composer Alexandru Flechtenmacher. We have followed its reflection in the Romanian press, starting from the first accounts in this respect, and ending with the subsequent assessments formulated in 20th-century musicology. Although the texts that tackle musical issues are quite few and social aspects prevail in the commentators’ list of interests, by combining the information provided by general literary/historical/social sources with the details included in specialized articles we can create a new perspective on late 19th-century Iași-based compositions.
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Zhurcheva, Olga V. "“New drama”: Pro et contra." Izvestiya of Saratov University. Philology. Journalism 22, no. 4 (November 23, 2022): 484–87. http://dx.doi.org/10.18500/1817-7115-2022-22-4-484-487.
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At the end of the 20th – the beginning of the 21st century there were serious changes in the poetics of drama, defining the strategy of artistic forms and features of artistic consciousness. This gives the right to single out the history of the “new drama” in a separate period of the literary and theatrical process. A new book by the Belarusian researcher S.Ya. Goncharova-Grabovskaya “Modern Russian Dramaturgy (late 20th – early 21st century)” is devoted to generalization and comprehension of this period, which is considered and announced in the presented review. The book examines the main trends in the development of the Russian drama at the turn of the 20-21st centuries: the history of the emergence of the “new drama” movement, aspects of poetics (hero, conflict, chronotope, language), genre-style vector (social drama, documentary drama, monodrama, remake plays, drama of the absurd) – all that defines the specific features of the modern dramaturgical process. The focus is on the plays of famous playwrights, which have been staged in theaters in Russia and Belarus, have received positive reviews in criticism. The peculiarity of the reviewed book is that it analyzes modern Belarusian drama, traces its connection with the Russian. The book includes overview chapters reflecting the genre and style parameters of drama, a list of plays, information about playwrights, control questions and assignments. The scientific and methodological publication under review is expected to be in high demand not only in the philological environment, but also among theater critics and theater historians.
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Abbott, Scott. "The Wanderer in 19th-Century German Literature: Intellectual History and Cultural Criticism (review)." Goethe Yearbook 17, no. 1 (2010): 406–8. http://dx.doi.org/10.1353/gyr.0.0046.
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Matyjaszczyk, Joanna. "Struggles with Dramatic Form in 16th-Century English Biblical Plays." Anglica. An International Journal of English Studies, no. 31/1 (October 2022): 5–27. http://dx.doi.org/10.7311/0860-5734.31.1.01.
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The aim of the article is to pinpoint how 16th-century biblical drama tried to appropriate its genre and medium to carry the reformist message and in what sense the project turned out to be a self-defeating one. The analysis of selected plays from reformed biblical cycles (The Chester Mystery Cycle, play iv; and “The Norwich Grocers’ Play”) and newly composed drama (John Bale’s plays, Lewis Wager’s Life and Repentaunce of Marie Magdalene, the anonymous “History of Jacob and Esau”), supported with an over- view of the criticism on the matter, reveals some common tensions in the dramatic texts which may have had their roots in the reformist need to eliminate any room for doubt that a theatrical performance could leave. The conclusion is that, in its attempts at striking the right balance between dramatizing and overt sermonizing, engaging and distancing, as well as providing an immersive experience and discouraging it, post-Reformation Scrip- ture-based drama oscillated between being more effective as a performance or as a carrier of the doctrinal message, with the resulting tendency to subvert either the former or the latter.
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Procházka, Martin. "Shakespeare and National Mythologizing in Czech Nineteenth Century Drama." Multicultural Shakespeare: Translation, Appropriation and Performance 13, no. 28 (April 22, 2016): 25–33. http://dx.doi.org/10.1515/mstap-2016-0003.
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The paper will discuss the ways in which Shakespeare’s tragedies (King Lear) and histories (1 and 2 Henry IV), translated in the period of the Czech cultural renaissance (known also as the Czech National Revival) at the end of the 18th and in the first half of the 19th century, challenge and transform the nationalist concept of history based on “primordialism” (Anthony Smith), deriving from an invented account of remote past (the forged Manuscripts of Dvur Kralove and Zelena Hora) and emphasizing its absolute value for the present and future of the Czech nation. While for nationalist leaders Shakespeare’s dramas served as models for “boldly painted heroic characters” of the Czech past, translators, dramatists and poets had to deal with the aspects of Shakespeare’s tragedies and histories which were disrupting the nationalist visions of the past and future. Contrasting the appropriations of King Lear and both parts of Henry IV in the translations and historical plays by the leading Czech dramatist Josef Kajetán Tyl (1808-1852) and the notebooks and dramatic fragments of the major romantic poet Karel Hynek Mácha (1810-1836), the paper will attempt to specify the role of Shakespeare in shaping the historical consciousness of emerging modern Czech culture.
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Cosma, Iulia. "Una rassegna bibliografica sui traduttori romeni dell’Inferno (1883-2015): considerazioni di tipo metodologico e deontologico." Translationes 7, no. 1 (June 1, 2015): 70–84. http://dx.doi.org/10.1515/tran-2016-0005.
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Abstract This paper is intended as part of a larger research that aims to the realization of a monographic study dedicated to the Romanian translations of Dante's Inferno, from 19th to 21th century. It is a historical and critical approach, intended as an interdisciplinary study, to be placed at the crossing of disciplines like translation history, translation criticism, reception theory, history of literature, history of literary language, cultural history. The bibliographical selection we propose is complete with some methodological and deontological considerations of utility in the study of the history of translation.
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Abasheva, D., V. Sigov, and R. Sharyafetdinov. "Formation and development of the Chuvash folklore studies and literary criticism of the 19th century." Rhema, no. 4, 2018 (2018): 190–203. http://dx.doi.org/10.31862/2500-2953-2018-4-190-203.
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History of literary criticism of various nations of Russia in the 19th century is many-sided and is important both for further development of literature and for the process of mutual enrichment, addition of literatures and literary studies. A special place in this context belongs to the Kazan province which has always been characterized by ethnic diversity an multinational structure and to the University of Kazan which is the acknowledged center for studying traditional ways of life, folklore and literature of the Volga region. In the formation of literary criticism and the development of literature of the Volga region in general and Chuvash literature in particular, the activities of the Chuvash writers, actors, artists, composers (I. Yurkin, G. Timofeev, M. Akimov, K. Ivanov, N. Shubossinni, M. Trubina, F. Pavlov, P. Pazukhin, etc.) and researchers (A.A. Fuchs, V.A. Sboev, S.M. Mikhailov, P. Malkhov, I.Ya. Yakovlev, N.M. Ashmarin, etc.) are of special importance.
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Kuhutiak, Mykola, Ihor Raikivskyi, and Oleh Yehreshii. "Halychyna. Journal of Regional Studies: Science, Culture, and Education. Twenty Years of Publishing Activity." Journal of Vasyl Stefanyk Precarpathian National University 4, no. 2 (October 30, 2017): 134–38. http://dx.doi.org/10.15330/jpnu.4.2.134-138.
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This is a review of the twenty-year-long publishing activity of Halychyna. Journal of Regional Studies: Science, Culture and Education, one of the first Ukrainian journals for historians, philologists, art critics that appeared in the independent Ukraine. In Halychyna, there has been published the works by well-known scholars of Vasyl Stefanyk Precarpathian National University and many other higher educational establishments of Ukraine. The Journal can boast an array of sections – archaeology, history, ethnology, political science, historiography, source studies, documents and materials, culturology, art criticism, historical biography studies, and others. Most of the studies published in Halychyna focus on the issues of the modern and contemporary history of Ukraine, ethnology. A special attention is given to the issues of the Ukrainian national liberation movement in the 20th century, the Ukrainian national revival in the 19th–20th century, the activity of the political parties in Galicia in the late 19th–early 20th century, source studies and historiography in Ukraine, historical regional studies, the problems of modern state formation in Ukraine, and others
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Akhmadullin, S. Z. "Critical Method of History Writing for the Russia’s Muslim Turkic Peoples in Talfiq al-akhbar by Murad Ramzi." Orientalistica 6, no. 3-4 (November 18, 2023): 403–17. http://dx.doi.org/10.31696/2618-7043-2023-6-3-4-403-417.
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In the end of the 19th and the beginning of the 20th centuries pre-modern Islamic past and imperial present of the Turkic Muslim peoples in the Ural-Volga region became the object of meticulous study for Muslim historians-reformers, who belonged themselves to these peoples, like Shihab al-Din Marjani, Rida’ al-Din Fakhreddinov, Murad Ramzi, Munir Hadi, Hasan-Ata Gabashi, Hadi Atlasi. This article presents to readers the first results of a comparative investigation of their historical works with the focus made on the works by Murad Ramzi. The author argues that the historical works under study, though they were composed in the traditional ta’rikh (in Pl. tawarikh) genre typical for the Islamic bookish tradition, form a transitional type from the Muslim chronicle to the national positivist historiography based on the scientific method of historical sources criticism. They share typical settings of traditional Muslim historiography, yet experience a strong influence of the positivist scholarship in Western Europe and Russia dating the second half of the 19th century. These works are brought together by a sharp criticism of the content of Muslim chronicles, which were still popular among the reading Muslim public at the turn of the 20th century. Their authors attempted to rewrite critically the history of their own peoples, without departing from Islamic foundations, but taking into account benefits of modern positivist scholarship. They all including Ramzi aimed at seeking for objective truth, freed from errors and superstitions of folk legends.
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Mikos, Lothar. "Berlin as location and production site for transnational TV drama." Critical Studies in Television: The International Journal of Television Studies 15, no. 4 (November 17, 2020): 373–92. http://dx.doi.org/10.1177/1749602020948210.
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Berlin has had a long, often complex history as a location site and centre for production dating to the end of the 19th century. By the 2010s however, the German city had once more become a central location and production site for international and national television, in part because of changing media policy and shifts in the global media industry, as well as related to the mediated imagination of the city. The article charts those changes in local production cultures related to technology, politics and economics but also to the aesthetic and narrative representation of the city which affected audiences and producers. The central argument is that local production cultures are not homogeneous, but ambivalent and sometimes contradictory.
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Graffi, Giorgio. "The treatment of syntax by some early 19th-century linguists." Historiographia Linguistica 25, no. 3 (January 1, 1998): 257–84. http://dx.doi.org/10.1075/hl.25.3.04gra.
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Summary This article examines the views about syntax held by Humboldt, on the one hand, and by the founders of historical-comparative grammar (Bopp, Rask, Grimm, Pott, Schleicher), on the other. In general, it is noted that the grammaire générale tradition of 17th and 18th centuries still survives in the work of such scholars, despite of all criticism they seemingly raised against it. For Humboldt, the common core of all languages has its source in the identity of human thought; also his treatment of the verb and especially his reference to a ‘natural’ word order (i.e., SVO) are clearly reminiscent of this tradition. Traces thereof are also found in Bopp’s analysis of Indo-European conjugation, and in some of Rask’s writings. For instance, Rask, just as Humboldt, assumes a ‘natural’ word order and proposes a list of possible syntactic forms which closely remind us of Girard’s membres de phrase. Grimm’s position appears as more innovative, heavily influenced by a Romantic view of language, but some older conceptions sometimes show up in his work, e.g., when he deals with the notion of ‘subject’. Pott does not completely reject general grammar and a logically-based view of language; he only stresses the need of a more empirical approach than that adopted by the 17th and 18th century linguists. This picture radically changed with Steinthai and Schleicher: the former scholar pronounced a ‘divorce’ between grammar and logic, while the latter one argued that syntax does not belong to linguistics proper and rejected any possibility of postulating syntactic distinctions which do not have any direct morphological correlate.
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Azarova, Valentina Vladimirovna. "French mystery drama in the mirror of the twentieth century." Культура и искусство, no. 3 (March 2022): 54–72. http://dx.doi.org/10.7256/2454-0625.2022.3.37697.
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The article considers the reflection of the basic laws of the mystery of the XIV–XVI centuries in the musical and theatrical works of the French "synthetic theater" of the twentieth century. These are "The Martyrdom of Saint Sebastian" by G. d'Annunzio — C. Debussy (1911) and "The Good News of Mary" by P. Claudel (1912-1948). The purpose of the work is to establish the peculiarities of the operation of the principles of semantics and composition of the genre, revived at the end of the XIX century and further developed in the French musical theater. In interdisciplinary, hermeneutical and art criticism approaches to achieving this goal, we distinguish a comparative method that allows us to draw conclusions about the identity and difference of the elements of these works, as well as about the genre "codes" of mystery dramas that enter into dialogue over a significant (about 300 years) time interval. We are talking about a dialogue within the history of Western European theater. In favor of the scientific novelty and significance of the work, we present theses on the integration of the spiritual dimension into the space of the mystery drama of the twentieth century, as well as on the relevance of the spiritual messages of the French composers of the twentieth century, who created mystery dramas in line with the Christian tradition. Conclusions are drawn: About the functions of liturgical choirs in Latin in French mystery dramas of the twentieth century, revealing the spiritual meaning of the works considered in this article. On the interaction of the sacred and profane as the leading genre feature of the mystery drama of the XIV–XVI centuries and the twentieth century. About the preservation of the spatial vector "earth — sky" by the French mystery drama of the twentieth century. On the connection of the French mystery drama of the twentieth century with the spiritual problems of modernity. About the search by the French mystery drama of the twentieth century for the possibility of overcoming the discrepancies between the world, God and man. About the inclusion of the French mystery drama of the twentieth century in the general cultural context.
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Scholz, Gunther. "Are text interpretations fictions?" Semiotic studies 2, no. 4 (December 28, 2022): 44–52. http://dx.doi.org/10.18287/2782-2966-2022-2-4-44-52.
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In the 19th century philology became the most important human science following history, and the interpretation methods were refined. However, in the 20th century, fundamental doubts arose about the possibility and the sense of the interpretation procedure, and an increasingly sharp criticism was expressed. It was aimed at the presupposition of a certain, unchangeable meaning of the texts. The diversity of interpretations seemed to confirm that. The interpretations could also be called "fictions". However, this essential doubt about a certainty of the text meaning contradicts the linguistic communication in the society. These critics ignore the fact that there are very different forms of texts and the interpretations in different cultural areas pursue very different objectives. It is reasonable to distinguish between criticism and hermeneutics to regulate the controversy of interpretations: while the latter tries to explore the author's perspective, in criticism the interpreter is allowed to bring his own perspective to bear. These two concepts are usually related in the interpretation process, but can be separated in case of controversy.
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Domínguez-Fonseca, Lesby José. "Dark complexion in the nineteenth century baseball of remediano and cienfueguero." Revista Metropolitana de Ciencias Aplicadas 7, Suplemento 1 (February 1, 2024): 276–84. http://dx.doi.org/10.62452/vx2vj534.
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“Dark complexion in the nineteenth-century baseball of Remedio and Cienfuegos" is not a specific scientific article focused on raciality from history. Its content offers, from the analysis, description and interpretation of primary sources, the participation of blacks and mestizos in the baseball life of the declared Cuban historical regions during the 19th century. The aforementioned allows declaring that the content of the present research production is unpublished. In general terms, the methodology used is based on the resources offered by the Dialectical Materialist conception of History, without discarding certain essential elements that need to be handled from a synchronic perspective, without the expository discourse responding to a type of comparative analysis strictly speaking, but to a specific historical reconstruction. Among the methods used are theoretical, historical-logical and analysis-synthesis methods. As for empirical methods, bibliographic-documentary methods were used. Likewise, the procedures of external criticism and internal criticism were used to work with the different newspaper and documentary sources. This work allowed establishing the relationships between the facts and phenomena inherent to the sociocultural influence of baseball as a sports practice in Remedios and Cienfuegos in the blacks and mestizos during the stated period.
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Kotsiuba, Viacheslav I. "Friedrich Heinrich Jacobi and the Moscow School of the Ecclesiastical-Academic Philosophy of the XIX Century Part II. Jacobi and Viktor D. Kudryavtsev-Platonov." Voprosy Filosofii, no. 5 (2023): 119–29. http://dx.doi.org/10.21146/0042-8744-2023-5-119-129.
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The article analyzes the attitude of the philosophy professor of the Moscow Theological Academy in the second half of the 19th century. Viktor D. Kudryavtsev-Platonov to the philosophy of Fr. Jacobi, the continuity of the philosophical views of Kudryavtsev and his teacher Feodor Golubinsky is traced, which is reflected in the attention to Jacobi’s apology for theism and the high appreciation of his teachings. Kudryavtsev joins the Jacobi’s criticism of philosophical rationalism and supports his doctrine of reason as an organ of direct perception of God and the properties of spiritual reality. At the same time, in his doctoral dissertation on the essence and origin of religion, Kudryavtsev points out a number of shortcomings of Jacobi’s philosophy, which is discussed in detail in the article. By presenting criticism of Kudryavtsev, the article, in particular, discusses Jacobi's concept of nature, his relation to religious tradition, the reasons for the differences between Kudryavtsev and Jacobi on the question of the possibility of rational knowledge of God and in assessing the evidence for the existence of God, Kant’s influence on Jacobi. It is concluded that Kudryavtsev-Platonov’s new differentiated assessment of Jacobi's teaching is conditioned by the new tasks of ecclesiastical-academic philosophy of the second half of the 19th century.
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Hajek, Kim M. "Félida, doubled personality, and the ‘normal state’ in late 19th-century French psychology." History of the Human Sciences 34, no. 2 (January 21, 2021): 66–89. http://dx.doi.org/10.1177/0952695120980648.
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The case of Félida X and her ‘doubled personality’ served in the last quarter of the 19th century as a proving ground for a distinctively French form of psychology that bore the stamp of physiology, including the comparative term normal state. Debates around Félida’s case provided the occasion for reflection about how that term and its opposites could take their places in the emerging discursive field of psychopathology. This article centres its analysis on Eugène Azam’s 1876–77 study of Félida, and the ways his framing of the case was adopted or critiqued by subsequent researchers. Azam initially deployed the label normal state in a routine manner, in contrast to his use of condition seconde to designate Félida’s other state; this pairing served, I argue, to anchor the scientific legitimacy of Félida’s extraordinary psychological manifestations. Unpacking the conceptual associations of Azam’s use of normal state, we find it marked as qualitatively distinct, temporally fixed, and most of all individualized; this without becoming normative. It was only through responses to and criticism of Azam’s study that there emerged a more generalized sense of normality against which pathological (hysteric) subjects’ comportment could be contrasted. Félida’s case itself constitutes a highly individualized reconfiguration of the concept of a normal state, while the subsequent framing of doubled mental states provides a valuable vantage point from which to consider the articulations between the language of emerging French psychology and its evolving subjects of enquiry.
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Mubashar Saeed and Dr. Afzal Hameed. "A Critical review of Monthly “Anokhi Kahaniyan”." Tasdiqتصدیق۔ 3, no. 01 (December 29, 2021): 108–18. http://dx.doi.org/10.56276/tasdiq.v3i01.66.
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One of the major fields of literature and journalism is Children's Literature. In the 19th century, the tradition of the publication of magazines in Urdu journalism became very strong, but the first regular magazines for children began in the early twentieth century. “Bachon Ka Akhbar” of Munshi Mehboob Alam is regarded as the first children's magazine published in May 1902. So far more than 300 such magazines have been launched till now. Monthly “Anokhi Kahaniyan, Karachi" of the 1990s has published more than 450 volumes. 55 were special numbers. Monthly “Anokhi Kahaniyan” has sparked almost three generations of children’s writers. It provided writers for drama, journalism, and poetry. It made the history of children's literature.
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Syahrian, Windi, and Syahrul Rahmat. "The Terubuk Fish in Bengkalis 19th to 20th Century: A Study of Animal History." Journal of Philology and Historical Review 1, no. 1 (June 5, 2023): 30–43. http://dx.doi.org/10.61540/jphr.v1i1.38.
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Terubuk fish were an important part of the life of the Bengkalis people in the past, both from an economic and cultural perspective. The high selling price in the market made terubuk a target for fishermen in the area and even involved local and colonial governments. This article examines the history of the catching and trading of terubuk from time to time, as well as the involvement of terubuk in historical dynamics in Bengkalis in the 19th to 20th centuries. This research is historical research which consists of four stages, namely heuristics, source criticism, interpretation and historiography. The results of the research were then analyzed using an animal history approach, in which, according to Rees, animals are agents who have the capacity to contribute to history. As a result of the research, Ikan Terubuk is an agent who plays an important role in the dynamics of trade and cultural history in Bengkalis. From the trade aspect, terubuk is a commodity with high economic value and has also been one of the export commodities in the past. Meanwhile, from the cultural aspect, the idea of ikan terubuk is manifested in the form of tradition through the semah terubuk ceremony and the creation of syair ikan terubuk.
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Solovyov, Artem. "Philosophical “Field” of Confessionalization in Russia: Russian Religious Philosophy of the 19th Century Between “Official” Ecclesiality and Political Theologies." Otechestvennaya Filosofiya 1, no. 1 (July 2023): 5–27. http://dx.doi.org/10.21146/3034-1825-24-5-27.
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The article explores the history of Russian religious philosophy of the 19th century as a part of the history of Christianity in Russia. Such a point of view becomes possible if we analyze how Russian religious philosophers criticize the religious attitudes of the “official” Orthodox Church and secular worldview attitudes. Secular attitudes are considered in the article as “political theologies” that “continued” religion in a secular society by secular means and for secular purposes. Criticism of the “official” ecclesiality and political theologies allows us to say that Russian religious philosophers, starting from the 19th century, initiated a process that was structurally similar to the process of confessionalization in the Reformation era. Within the framework of the “hermeneutic wars” they defended their unique type of religiosity, which can be defined as “the religiosity of intellectuals”. It is through the prism of the confessionalization process that consideration of the history of Russian religious philosophy as part of the history of Christianity in Russia becomes possible; confessionalization is associated with religious conversion, which is common to most Russian religious philosophers. It is concluded that the legitimation of one's own religiosity as genuine is the main goal of Russian religious philosophers, and they use philosophy as a means for this legitimation. This legitimation is proposed to be understood as a perlocutionary aspect of Russian religious philosophy, if we consider it according to the approach of the Cambridge School of Intellectual History. Criticism, in the course of which Russian religious philosophers developed confessionalization activities, substantiating the inauthenticity of both “official” ecclesiality and political theologies, is proposed to be considered an illocutionary, warning aspect of Russian religious philosophy.
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Kan, Sergei. "“True Heirs to a Heroic Russian Past” or “Russians in Name Only”: Sitka Creoles as Seen by the Late Nineteenth Century Russian Orthodox Clergy." Journal of Frontier Studies 5, no. 4 (December 14, 2020): 12–37. http://dx.doi.org/10.46539/jfs.v5i4.211.
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The paper examines the criticism levelled against the Creoles of Sitka (persons of Russian and Alaska Native descent) by the Russian Orthodox priests who came to minister among them in the late 19th-early 20th century. These clergymen accused their parishioners not only of immorality but also of not being truly Russian, as far as their language and culture were concerned. By focusing on this criticism, the paper explores the symbolic significance of Alaska’s Russian colonial and missionary history and its legacy in the conservative nationalist ideology of the Russian Orthodox clergy. Particular attention is paid to the causes to which this clergy attributed the decline of the Russian culture and devotion to Orthodoxy among the Creole population of this frontier American/Alaskan town.
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Chizhkov, Sergey. "The problem of the social ideal in the philosophy of Boris Chicherin." Polylogos 5, no. 3 (17) (2021): 0. http://dx.doi.org/10.18254/s258770110017255-2.
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The article analyzes the concept of the ideal of social life, developed by B.N. Chicherin. The first part of the article examines his criticism of various representations of the social ideal in the history of thought and in socio-economic and political concepts contemporary to Chicherin. Special attention is paid to his analysis and criticism of the social ideal of socialist doctrines. The second part of the article is devoted to the analysis of tendencies in liberal thought, controversial from Chicherin's point of view. It provides Chicherin's criticism of the notions of social liberalism emerging at the end of the 19th century. In the third part, an analysis of his own concept is given, Chicherin's ideas about the ways of forming a society based on individual freedom are considered, and the social role of ideas about the social ideal is analyzed.
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Sozina, Elena K. "Epoch / Period vs Generation in the Literary and Critical Consciousness of the 19th Century." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 3 (2022): 9–25. http://dx.doi.org/10.15826/izv2.2022.24.3.041.
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This article analyses the functioning of the concepts of “epoch”, “period”, and “generation” in nineteenth-century literature, criticism, and literature studies. The concept of “epoch” presupposes a linear stage understanding and interpretation of history, and “period” can also be used within other concepts of historical development. The “epoch”, sometimes replaced by the “century”, and the “period” were traditionally used as measurement units of literature and culture history (cf. works of A. Bestuzhev, I. Kireevsky, V. Belinsky, etc.). One of the first periodisations of the history of Russian literature which employed these concepts was given by I. M. Born. The concept of “generation” in its meaning contains a biological, natural connotation, and therefore is not necessarily associated with the linear stage understanding of historical time. As S. N. Zenkin puts it, “a generation is time embodied in people, in their dramatic destiny”. The concept of “generation” is often used in periods of historical time which require a person to comprehend themselves and their place in history. A good example is Romanticism in the first decades of the nineteenth century. Another factor that actualises generational problems is the influence of biological and naturalistic ideas when a community motif of people doomed to be born and live with this influence “in their blood” emerges in this quite unfavorable time. This situation is considered by the author of this paper regarding the functioning of the “generation” concept in A. P. Chekhov’s works, who actively marked himself as belonging to the eighties’ “artel” (generation) in the 1880s. This concept as a subject of his characters’ argument subsequently recurs in Chekhov’s works of fiction. All the concepts mentioned are also analysed in the History of the Russian Literature of the 19th Century (1908–1911, ed. D. N. Ovsyaniko-Kulikovsky), which summed up the achievements of the nineteenth-century cultural and historical school. The author emphasises how this book (History...) develops a method of working with these concepts, and this method later comes in demand with the twentieth-century humanities.
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Walker, Pierre A. "“What do you think of the opera?”: Don Giovanni in Chapter 17 of The American." Henry James Review 45, no. 1 (January 2024): 25–46. http://dx.doi.org/10.1353/hjr.2024.a918114.
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Abstract: James scholarship sees chapter 17 of The American , which takes place at a performance of Mozart’s opera Don Giovanni , as particularly significant. However, a fundamental error about Don Giovanni has led to erroneous conclusions. The error is that Don Giovanni as performed during the 19th century was different from this opera as performed recently. Nevertheless, even the most historically informed criticism on chapter 17 has fallen prey to incorrect assumptions due to not taking into consideration the opera’s performance history. Considering the chapter in light of this performance history leads to a re-interpretation of the characterization of Christopher Newman and of Urbain de Bellegarde.
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Korolkova, Angelika. "Linguistic Representation of V.G. Belinsky’s Value Priorities (Based on Aphoristics)." Izvestia of Smolensk State University, no. 3 (55) (January 26, 2022): 53–63. http://dx.doi.org/10.35785/2072-9464-2021-55-3-53-63.
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The article deals with the aphoristic heritage of V.G. Belinsky.
V.G. Belinsky’s name and his concept of «real art» are objectively considered nowadays within the history of literature of the 19th century. In his numerous works Belinsky developed the theoretical foundations of Russian realism proposed the principle of a new «real» aesthetics; in fact, he created a program
of contemporary art. In the corpus of Russian aphoristics, V.G. Belinsky’s sayings occupy a special place showing in synchrony a person’s ideological attitudes in the first half of the 19th century.
Belinsky’s sayings about criticism are widely known in Russian literature, but his aphorisms are not only about art, they are about the theory and history of literature, language, although it undoubtedly forms the ideological basis of the conceptual picture of the world, but also about love, family, friendship, the value
of human life, etc. V.G. Belinsky’s aphoristics, representing his linguistic picture of the world, also reflects his conceptual picture of the world. Belinsky’s aphorisms are
connected with the historical context of the epoch. They reflect it in synchrony, which suggests that extralinguistics seriously determined his value priorities. Belinsky, being one of the representatives of the Russian democratic intelligentsia of the first half of the 19th century, became an exponent of the moral
values of the Russian democratic society of his era. Belinsky’s aphorisms represent his value paradigm based on the life-affirming concepts of man (citizen), society, Motherland, the Russian language, love, and life.
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Mangraviti, Fabio. "The Patronage of Literary Criticism." Cracow Indological Studies 25, no. 2 (December 29, 2023): 109–47. http://dx.doi.org/10.12797/cis.25.2023.02.04.
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The present work is inspired by previous contributions to the development of the Hindi public and print spheres in the 19th century (Dalmia 1997; Orsini 2002; Stark 2007). It aims at extending and integrating previously elaborated presentations by focusing on the patronage provided by colonial institutions to the development of Hindi literary studies in the 1870s and 1880s. The study also considers the role played by Indian sampradāys in enacting the religious and intellectual processes underwriting the expansion of this field. By moving in this direction, the article mainly builds on the investigation of some biographies (jīvnī) of the North Indian devotional poets penned by Bhārtendu Hariścandra in the 1870s. Further, it explores the relationship between these biographies and the anthologies published in the mid-1870s by the Naval Kishor Press. The final section of the contribution provides an introductory analysis of the type of patronage extended to Hariścandra and his works by the Khadgavilas Press in the 1880s. The aim is to draw a comparison between the policies of some earlier private publishing enterprises and those pursued by the new, Hindu-oriented publishing enterprises.
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دانایی فر, مطهره, and زهره تفضلی. "The main Theories of Architectural Criticism in the West: Its history from the 19th Century to the Present." Sofeh Journal 31, no. 1 (March 21, 2021): 5–14. http://dx.doi.org/10.29252/soffeh.31.1.5.
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Expósito de Vicente, Cristina. "Visual Exegesis of Herodias and Salome from Feminist Rhetorical Criticism: The Construction of a Myth." Religions 15, no. 3 (March 8, 2024): 328. http://dx.doi.org/10.3390/rel15030328.
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The biblical account of Salome has been marked throughout history by two main themes: on the one hand, the princess’s dance in front of the main rulers of Galilee, and on the other hand, the request for the head of John the Baptist to King Herod, instigated by his mother Herodias. The reading of this passage has been strongly marked by the different patriarchal exegetical approaches, which have modulated the reception of both female characters being traceable through the visual and literary arts, to the point of taking on the concept of femme fatale. Really, in both moments Salome is the executor of the actions, not as a result of her capacity for agency, but due to her influenceable character. Through a critical–historical analysis of the biblical passage, Herodias and Salome emerge with characteristics quite different from what 19th-century Art History inherited. The methodology of feminist rhetorical criticism allows for an approach to the visual re-imaginings of this biblical passage that have shaped the iconography of these two figures. The field of visual arts, particularly the production of the late 19th and early 20th centuries, will be the great receptacle for the genesis of the fatality and assimilation of these female biblical figures.
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Kirillova, Natalia B. "Metamorphoses of Russian Mass Culture." Observatory of Culture 16, no. 5 (December 4, 2019): 536–41. http://dx.doi.org/10.25281/2072-3156-2019-16-5-536-541.
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The article is a review of the monograph “Russian Mass Culture: From Baroque to Post-Modernism” by Doctor of Philosophy, Professor of the Russian State University for the Humanities, Academician of the Russian Academy of Natural Sciences I.V. Kondakov. The book, which consists of seven chapters, is devoted to the history of the emergence and development of mass culture in Russia from ancient times to the beginning of the 20th century. Studying its origins dating back to antiquity, the author proves that Russian mass culture received an “impulse of independence” in the 17th century, as the culture was becoming personified, which means a personal principle was coming forward in it. It was during that period, associated with the emergence of Russian Baroque, that two paradigms appeared — Pre-Renaissance and Pre-Enlightenment, which led to the subsequent juxtaposition of “mass” and “elite” cultures in Russia first before Peter the Great and then after his period. The author gives an interesting assessment to the period of the Russian Enlightenment of the 18th century, when there happened a demarcation of the noble culture into liberal-democratic and conservative directions. Moreover, the former contributes to “massification”, and the latter – to “individualization” of Russian culture. The crisis of the classical paradigm in the 19th century, including the “literature-centrism” and “critical-centrism” of Russian culture, ultimately led to the formation of new artistic movements, new genres and styles, that is, to the modernization of Russian culture at the turn of the 19th—20th centuries. In this regard, the Silver Age turned out to be an “exquisite and ephemeral construction of the Russian Renaissance” in paradoxical forms of symbolism and modernism.The review reflected the structural and substantive aspects of I.V. Kondakov’s monograph, the features of his theoretical analysis, the specifics of style and language. The article evaluates the publication, reveals its uniqueness and scientific significance for modern humanitarian science, including history and cultural studies, literary criticism and philosophy, art criticism and aesthetics.
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LEMNY, Ştefan. "Istoria ca o poveste: Istoria Imperiului Otoman de Cantemir." Analele Ştiinţifice ale Universităţii „Alexandru Ioan Cuza” din Iaşi, s.n., Istorie 69 (2024): 83–93. http://dx.doi.org/10.47743/asui-2023-0006.
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A part of European culture since the 18th century, the “History of the Ottoman Empire” of Dimitrie Cantemir calls for a new reading, especially since the erudite historian Virgil Cândea discovered its original manuscript, which scholars have long sought. Beyond the historiographical value of the work as documentation and critical wit, its clear and flowing “story-like” writing illustrates the indissoluble link between history and storytelling mentioned by Paul Ricœur. It is easier to understand why, thanks to this condition, it did not pose too complicated problems of translation, easing the effort of translators and offering itself to 18th-century (and later) readers as an instructive and enjoyable read. The criticism came especially from the angle of scholarship with the development of the critical spirit in historiography in the 19th century and the formation of new generations of scholars specializing in Ottoman studies. However, while Cantemir’s history of the Ottomans has given way to other later works as documentation and analysis, it retains the same interest as a narrative discourse, the mark of time contributing no less to its fascination.
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Oktavia, Dewi, and Aditya Nugroho Widiadi. "Perjalanan Haji Abad XIX dalam Menumbuhkan Kesadaran Nasionalisme dan Relevansinya dalam Pembelajaran Sejarah di Sekolah." Cetta: Jurnal Ilmu Pendidikan 7, no. 1 (March 6, 2024): 152–64. http://dx.doi.org/10.37329/cetta.v7i1.3126.
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The Hajj is one factor that encourages the emergence of a movement among the ulama based on a sense of nationalism towards their nation and country. However, within the scope of primary to secondary education in Indonesia, the history surrounding the Hajj in fostering a spirit of nationalism among ulama is almost never taught to students. This research aims to determine the role of the Hajj pilgrimage in fostering awareness and a spirit of nationalism among ulama and the relevance of this event to history learning in schools. This research was written using historical research methods carried out through five research stages, namely topic selection, heuristics, criticism, interpretation, and historiography. The results of this research show that the pilgrimage in the 19th century contained nationalist values such as religious attitudes, love for the homeland, solidarity, hard work, independence, caring, responsibility, national spirit, and willingness to sacrifice. The nationalist values contained in this incident align with the objectives of history learning to form a generation of people who have a nationalist spirit and can practice the noble values of the Indonesian nation. Therefore, the Hajj events in the 19th century need to be taught to students through history lessons so that students can understand the importance of nationalism, which was behind the actions of the ulama in resisting Dutch rule in Indonesia.
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Wandel, Agnieszka. "Książka popularnonaukowa dla dzieci i młodzieży w oczach krytyków — rekonesans badawczy." Roczniki Biblioteczne 60 (June 8, 2017): 247–69. http://dx.doi.org/10.19195/0080-3626.60.11.
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POPULAR SCIENCE BOOK FOR CHILDREN AND YOUNG ADULTS IN THE EYES OF CRITICS — A RESEARCH RECONNAISSANCEThe aim of the article is to determine the position of popular science books for children and young people in Polish literary criticism and book studies, and to specify the terminology used by scholars. Opinions about such books have been formulated by theorists and practitioners of children’s books since the 19th century, with the criteria of their assessment changing in accordance with the current literary fashions and trends in pedagogy. Critics’ interest in such works was strong until the end of the 19th century, when books for children were expected mainly to serve utilitarian purposes. The phenomenon intensified especially in the era of positivism; among the most enthusiastic advocates of popular science books were Adolf Dygasiński and the co-editor of Bluszcz Maria Ilnicka. The stature of popular science books is also evidenced by the fact that their titles often appeared in recommended bibliographies at the time. A later change in the perception of the tasks of literature for the youngest readers diminished the critics’ interest in such works. In addition, there was a growing rift between literary criticism and pedagogical-library criticism. In communist Poland the perception of popular science books was also affected by the promotion of works not suited to the expectations and needs of the readers. Today, the stature of popular science books rises with their market success and innovative projects in the area. That is why there are numerous reviews of such works in professional journals Guliwer, Nowe Książki, Świat Książki Dziecięcej etc. and websites Mądre książki, 10 książek: na start do nauki etc. as well as studies devoted to the history and evolution in the content and editorial form of such publications, and their usefulness in the teaching and self-education of young readers.