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Journal articles on the topic 'Literature, appreciation and criticism'
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1
Santosa, Puji. "KONDISI KRITIK SASTRA INDONESIA SEABAD H.B. JASSIN (Indonesia Literary Criticism in A Century of H. B. Jassin)." Kandai 13, no. 1 (August 24, 2017): 91. http://dx.doi.org/10.26499/jk.v13i1.94.
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This study aims to reveal and to describe the condition of Indonesian literary criticismin a century of H.B. Jassin (1917-2017). The research problem is how the condition of Indonesian literary criticism in a century of H.B. Jassin? The method used is the historical and descriptive method. The research proves that the condition of Indonesian literary criticism in a century of H.B. Jassin progressing quite encouraging on four genres of literary criticism, namely: (1)general literary criticism or practical literary criticism developed in printed media and electronic, (2) history of academic literary that thrives in academic research focusing on philology, (3) literature appreciation and interpretation that developes in the academic and scientific journal of literature, and (4) literary theory that developes in academic world as a basic reference for writing literature scientific papers. From these results it can be concluded that the condition of Indonesian literary criticism in a century of H.B. Jassin has never been stagnant or vacuum.
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Rudinsky, Norma. "The Context of the Marxist-Leninist View of Slovak Literature 1945-1969." Carl Beck Papers in Russian and East European Studies, no. 505 (January 1, 1986): 36. http://dx.doi.org/10.5195/cbp.1986.99.
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This paper resulted from an attempt to explore factors determining or underlying the "Marxificalion" of Slovak literature after 1945-- an attempt motivated by a hunch that certain Marxisl-Leninisl principles had provided a different insight into Slovak literature from that provided by the liberal, democratic "aesthetic appreciation" school of criticism in prewar Czechoslovakia. The idea that Slovak literary criticism has thrived, relatively, since World War II is by no means new and was advanced, for example, by emigre crilics.
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Nabae, Hitomi. "Translation as Criticism: A Century of James Appreciation in Japan." Henry James Review 24, no. 3 (2003): 250–57. http://dx.doi.org/10.1353/hjr.2003.0028.
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Saifulloh, Ahmad Iklil. "Ecocriticsm as the Development of Teaching Materials in Literary Theories and Appreciation Courses." International Journal of English Education and Linguistics (IJoEEL) 3, no. 1 (June 30, 2021): 1–9. http://dx.doi.org/10.33650/ijoeel.v3i1.1752.
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Eco Criticism or known as Literary Ecology which was popularized by Greg Gerrad has become a rare scientific discourse if it synergizes with the Indonesian character of education which is one of the educational pillars of the ministry of education. The resonance of these two scientific clumps between environment and literature to be the main topic promoted to realize the value of character education no 16 which is concerned about environment. To achieve this goal, this research using research and development by Plomp in order to form a form of book materials of Eco criticism as applied literary in education. The results obtained in the application of the ecological characteristics of literature which include the main elements, namely Pollution, Position, Pastoral, Wilderness, Apocalypse, Dwelling, Animal, Future the earth in a form of field test for students are 87.42 and expert validation 92.3%, media 95, 3%, and 92.3% language in the course of literary theory and appreciation of English language education, the Faculty of Teacher Training and Education, Majapahit Islamic University of Mojokerto.
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Pieper, Vincenz. "Literary Appreciation in the Framework of Positivism." Journal of Literary Theory 14, no. 1 (March 1, 2020): 76–93. http://dx.doi.org/10.1515/jlt-2020-0005.
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AbstractSome literary scholars assume that appreciation, if it is to take a central position in literary studies, must be defined as a complement to value-neutral understanding. It is often claimed that positivists are unable to do justice to literary value since their engagement with works of literature is restricted to historical inquiry. They can only do the preparatory work for the proper goal of literary interpretation, i. e. aesthetic appreciation. On this basis, a distinction is introduced between historical scholarship and criticism. The former is supposedly concerned with factual questions, while the latter is concerned with aesthetic qualities. I argue that this picture of literary studies is fundamentally misguided. My central thesis is that positivists, though committed to value-neutrality, can nonetheless recognise the qualities that make a work of literature effective or rewarding. Literary appreciation is a form of understanding that involves evaluative terms. But if these terms are duly relativised to the interests of the historical agents, they can be used to articulate empirically testable statements about the work in question.In the first section, I set out some principles to define a positivist philosophy of the humanities. I use the term ›positivism‹ to designate an approach exemplified by Otto Neurath, who systematically opposes the reification of meanings and values in the humanities. While some scholars in the analytical tradition call into question positivism by invoking Wittgenstein, I will suggest that his later philosophy is for the most part compatible with Neurath’s mindset. The following sections attempt to spell out a positivist account of literary appreciation. I develop this account by examining the philosophy of criticism proposed by Stein Haugom Olsen and Peter Lamarque, the most prominent advocates of the idea that appreciation goes beyond mere understanding. In discussing their misappropriation of Wittgenstein’s philosophy of language, it will become apparent that they tend to idealise literary practice and its rules. Their description of the institution of literature mixes factual questions with personal value judgements. Positivists, by contrast, seek to distinguish factual matters from subjective judgements and to limit the study of literature as far as possible to the former. They advise critics to approach works of literature in the spirit of scientific inquiry. This does not mean, however, that there is no place for emotional experience and evaluative behaviour in the framework of positivism. To account for these aspects of literary scholarship, a theory of historical empathy is needed that clarifies the function of evaluative expressions in the explanation of literature. I will argue that value terms are used not solely or primarily to articulate what makes the work under consideration pleasurable for the scholar who uses them; their principal function is to indicate what makes a work satisfying from the perspective of the writer or from the perspectives of the groups the author seeks to impress. Empathy is exhibited in the willingness to use evaluative language to make sense of the writer’s behaviour, regardless of whether one finds the work personally rewarding or not.
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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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Nwadike, Chinedu, and Chibuzo Onunkwo. "Flipside Theory: Emerging Perspectives in Literary Criticism." International Journal of Applied Linguistics and English Literature 7, no. 6 (November 1, 2018): 195. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.6p.195.
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Literary theories have arisen to address some perceived needs in the critical appreciation of literature but flipside theory is a novelty that fills a gap in literary theory. By means of a critical look at some literary theories particularly Formalism, Marxism, structuralism, post-structuralism, psychoanalysis, and feminism but also Queer theory, New Criticism, New Historicism, postcolonialism, and reader-response, this essay establishes that a gap exists, which is the lack of a literary theory that laser-focuses on depictions of victims of social existence (people who simply for reasons of where and when they are born, where they reside and other unforeseen circumstances are pushed to the margins). Flipside criticism investigates whether such people are depicted as main characters in works of literature, and if so, how they impact society in very decisive ways such as causing the rise or fall of some important people, groups or social dynamics while still characterized as flipside society rather than developed to flipview society. While flipside literary criticism can be done on any work of literature, only works that distinctively provide this kind of plot can lay claim to being flipside works. This essay also distinguishes flipside theory from others that multitask such as Marxism, which explores the economy and class conflict between the proletariat and the bourgeoisie, and feminism, which explores depictions of women (the rich and the poor alike) and issues of sex and gender. In addition, flipside theory underscores the point that society is equally constituted by both flipview society and flipside society like two sides of a coin.
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van Rooden, Aukje. "Kafka Shared Between Blanchot and Sartre." arcadia 55, no. 2 (November 9, 2020): 239–59. http://dx.doi.org/10.1515/arcadia-2020-2010.
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AbstractEver since their translation in the course of the 20th century, the works of Kafka have been widely appreciated by French intellectuals. Kafka’s greatest admirers include Maurice Blanchot and Jean-Paul Sartre, both of whom consider his work an exemplary illustration of their own poetical-philosophical views. This is remarkable, because Blanchot’s and Sartre’s respective views are generally conceived of as opposites. Apparently, then, these two authors who are so divergent in their philosophical views and literary criticism, as well as in their own literary works, find themselves on the same page in their appreciation of Kafka. I will argue that this shared appreciation not only reveals some unexpected points of agreement between them, but also facilitates an interesting intellectual encounter between Blanchot and Sartre in the late 1940 s. It is, we will see, only on the basis of an agreement with regards to Kafka’s work that their ways can part.
9
Sulistyorini, Haryati. "PEMBELAJARAN BERBASIS PROJEK (PROJECT BASED LEARNING) PADA PENGAJARAN ENGLISH DRAMA APPRECIATION DENGAN MENGGUNAKAN MEDIA PEMENTASAN DRAMA BERBAHASA INGGRIS ‘SANGKURIANG’." LITE: Jurnal Bahasa, Sastra, dan Budaya 16, no. 1 (March 31, 2020): 1–21. http://dx.doi.org/10.33633/lite.v1i1.3424.
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 Abstract: This paper entitled Wisata Sastra pada Pengajaran English Drama Appreciation dengan menggunakan Media Pementasan Drama ‘Sangkuriang, has a purpose for learners dan teachers in literature to give an assumption that literary criticism could be done not only by using reception theory but also used another model in teaching like Project Based Learning. The Project Based Learning in Engish Drama Appreiation with a play perform, Sangkuriang also has the main purpose to introduce and promote the toursm object of Tangkuban Perahu as the popular tourism object in Indonesia especially in West of Java. This is usually called by travelling literature which also has a function to promote and popular the tourism object. Descriptive qualitative is used to describe the data which is acquired in the project based learning.The result shows that teaching learning in English Drama Appreciation which is done by the project based learning is able to give students in the interpretation on a literary work in a play perform like Sangkuring.  Key words: Tourism, Literature, Drama, Sangkuriang  Â
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Vinnicombe, Thea, and Pek U. Joey Sou. "Socialization or genre appreciation: the motives of music festival participants." International Journal of Event and Festival Management 8, no. 3 (October 9, 2017): 274–91. http://dx.doi.org/10.1108/ijefm-05-2016-0034.
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Purpose Academic studies have sought to understand the motivations of festival and event attendees usually through single-event case studies. This approach has failed to generate a generalizable set of motivation items. In addition, there is increasing criticism in the literature of the common methodological framework used in festival motivation studies, due to a perceived over-reliance on motivations derived from the broader tourism and travel research, with too little attention to event-specific factors. The purpose of this paper is to address these issues by analyzing a sub-category of motivation studies, music festivals, in order to see if this approach can elicit a consistent set of motivation dimensions for the sub-category, which can in turn be compared and contrasted with the broader literature. A new case study of motivations to attend the 28th Macau International Music Festival (MIMF) is included to complement the existing music festival sub-category by adding a classical music and music festivals in Asia. Design/methodology/approach Motivation dimensions important to music festivals are compared to dimensions across the broader festival motivation literature to find similarities and differences. Factor analysis is used to identify the motivation dimensions of attendees at the MIMF and the results are compared to those of existing music festival studies. Findings Music festival goers are shown to be primarily motivated by the core festival offering, the music, in contrast to festival attendees in general, where socialization has emerged as the primary motivating element. The results of the additional case study support these findings. Originality/value In contrast to previous research, this study examines the possibility of identifying common motivations among festival attendees through studying festivals by sub-categories.
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Fitriani Lubis, Salmah Naelofaria, and Rumasi Simare-mare. "Analysis of the Requirements for Digital Teaching Materials in Appreciation and Indonesian Literary Criticism Subject in State University of Medan." Britain International of Linguistics Arts and Education (BIoLAE) Journal 2, no. 2 (July 13, 2020): 598–603. http://dx.doi.org/10.33258/biolae.v2i2.274.
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Entering industrial revolution 4.0 and society 5.0 era, teacher and candidate teacher preparation to be a professional should better through the increasing of competency that fit in 21st century. Indonesian Languange and Literature Education Study Program in State University of Medan as an institution that produce future candidate educator for Indonesian languange and literature has a great responsibilities to produce a teacher who have adequate 21st century’s competency. The needs analysis is an initial study for research in digital teaching materials development of Appreciation and Indonesian Literary Criticism Subject in State University of Medan. The aim of this research is to look the extent of the level of need of the academic community in Indonesian Languange and Literature Education Study Program for the development of digital teaching materials. This research use descriptive method. Data are collected by observation, interview, and questionnaire. This study is a descriptive research with survey method that held between August and September 2019 in Indonesian Languange and Literature Education Study Program in State University of Medan. The population is all third-semester students in this study program that take Appreciation and Indonesian Literary Criticism Subject with 124 students. The sampel is selected randomly by 75 students. Futhermore, the questionnaire is also given to this study program lecturers that count 28 lecturers to know the illustration of teaching process that do based on academic community’s requirements in this study program towards the high of digital teaching materials development. The findings of this study show that the academic community’s requirements for the development of digital-based teaching materials in this study program is high. Students who are the sample hope that the teaching materials of that subject could be develop to be based on digital and could be access all the time by all students.
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ALI, AFAQ. "Evaluation of literary appreciation Skills of Students of the college of Education university of wasit." Journal Ishraqat Tanmawya 27 (June 2021): 587–622. http://dx.doi.org/10.51424/ishq.27.22.
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The study aimed to evaluate The literary appreciation Skills of the Students of the Department of Arabic Language at the college of Human Education at the university of wasit , the research sample consisted of (90) students of the Arabic Language Department of (45) Students in the third stage . To achieve the goal of the research, the researcher prepared atest to measure Literary appreciation skills consisted of (19) Paragraphs . After verifying the validity of the perform ance after presenting it to agroup of experts and Speciaists ,the Stability of the performance was also calculated by the method of repetition ,and it reached the Coefficient of Consistency. The researcher developed a number of treatments that Contribute to Solving this problem . Among the most important proposals are to Conduct a study to know the level of literary ,analysis among students of the Arabic Language Department in Iraqi universities to Conduct a study to identify the difficulties ,that Students of the Arabic language Department face in Studying literature. And to Conduct A Comparative Study to find out the level of literary appreciation and the level of literary Criticism among Students of the Arabic Language Department in universities Iraqi. ,Students ,the department Evaluation ,Skills ,Literary taste Key words: . Of Arabic language
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NURSIDA, IDA. "MENAKAR HERMENEUTIKA DALAM KAJIAN SASTRA." ALQALAM 34, no. 1 (June 30, 2017): 81. http://dx.doi.org/10.32678/alqalam.v34i1.1833.
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The study of literature is signed by an inherent and important activity within it, i.e. interpretation. The activity of literature appreciation and literature criticism, both of its periphery and its orifice, deals with literature studies that should be interpreted. Every interpretation activity of literature works always involves in a hermeneutical process. Hence, hermeneutics occupies a crucial position and it is impossible to disregard it in the analyis of the literature works. Based on that explanation, hermeneutics is something important to discuss comprehensively in order to obtain sufficient understanding. Hermeneutics developed in the literature interpretation deals closely with the development of hermeneutical thoughts, especially on the history of philosophy and theology because it begins to appear from these two subjects. To understand hermeneutics in the literature interpretation, it is necessary to comprehensively understand the history and the concept of hermeneutics, especially dealing with three variants of hermeneutics which develop in the tradition of modern hermeneutics: methodological or theoritical hermeneutics, philosophical hermeneutics, and critical hermeneutics. by understanding these three variants, it enables us to have sufficient understanding on hermeneutics in the literature studies.
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Ma, Xiaoyu. "A Case Study on Characters in Pride and Prejudice: From Perspectives of Speech Act Theory and Conversational Implicature." International Journal of English Linguistics 6, no. 4 (July 14, 2016): 136. http://dx.doi.org/10.5539/ijel.v6n4p136.
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<p>Speech act theory and conversational implicature, as research approaches in discourse analysis (DA), have been applied successfully to investigations in such fields as philosophy, linguistics, psychology and literature criticism. This paper aims to employ a synthesized model of these two theories to make a tentative study of the “literature language” and the characters in the literary work—<em>Pride and Prejudice</em>—to testify whether these research methods contribute to the readers’ understanding and appreciation of this masterpiece. The results of the study show that, to a certain extent, the image of the characters in a particular context in this literary work has been successfully demonstrated in terms of these two approaches in DA and it has been proved that “literature language” can be analyzed by means of DA theories. In addition, the study may contribute to the enlightenment of effective and creative approaches in literature as well as college movie English audio-visual-oral course teaching.</p>
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Rahman, Yusuf. "TREN KAJIAN AL-QUR’AN DI DUNIA BARAT." Jurnal Studia Insania 1, no. 1 (April 30, 2013): 1. http://dx.doi.org/10.18592/jsi.v1i1.1076.
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This research was partially take reference by Edward Said in his Orientalism in 1978 have criticized the Orientalists which he said was biased against Western thought and culture, Orientalist studies of the Al-Qur’an, we could divide them into two general categories, the first group “old” Orientalism (Orientalism “The Past”). This paradigm shift occurred from philological approach, criticism of the text of the Al-Qur’an to approach literature; study the Al-Qur’an in the Western world in recent years is very widespread and growing. In contrast to previous studies in the past were very much influenced by the spirit of colonialism, and orientalism misionarisme, study the Al-Qur’an in recent years shows an understanding and appreciation of intellectual property
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Langlands, Rebecca. "Latin Literature." Greece and Rome 62, no. 1 (March 25, 2015): 97–106. http://dx.doi.org/10.1017/s001738351400028x.
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This time last year my review concluded with the observation that the future for the study of Latin literature is fundamentally interdisciplinary, and that we should proceed in close dialogue with social historians and art historians. In the intervening period, two books from a new generation of scholars have been published which remind us of the existence of an alternative tide that is pushing back against such culturally embedded criticism, and urging us to turn anew towards the aesthetic. The very titles of these works, with their references to ‘The Sublime’ and ‘Poetic Autonomy’ are redolent of an earlier age in their grandeur and abstraction, and in their confident trans-historicism. Both monographs, in different ways, are seeking to find a new means of grounding literary criticism in reaction to the disempowerment and relativism which is perceived to be the legacy of postmodernism. In their introductions, both bring back to centre stage theoretical controversies that were a prominent feature of scholarship in the 1980s and 1990s (their dynamics acutely observed by Don Fowler in his own Greece & Rome subject reviews of the period) but which have largely faded into the background; the new generation of Latinists tend to have absorbed insights of New Historicism and postmodernism without feeling the need either to defend their importance or to reflect upon their limitations. Henry Day, in his study of the sublime in Lucan's Bellum civile, explicitly responds to the challenges issued by Charles Martindale, who has, of course, continued (in his own words) to wage ‘war against the determination of classicists to ground their discipline in “history”’. Day answers Martindale's call for the development of some new form of aesthetic criticism, where hermeneutics and the search for meaning are replaced with (or, better, complemented by) experiential analysis; his way forward is to modify Martindale's pure aesthetics, since he expresses doubt that beauty can be wholly free of ideology, or that aesthetics can be entirely liberated from history, context, and politics. Reassuringly (for the novices among us), Day begins by admitting that the question ‘What is the sublime?’ is a ‘perplexing’ one, and he starts with the definition of it as ‘a particular kind of subjective experience…in which we encounter an object that exceeds our everyday categories of comprehension’ (30). What do they have in common, then, the versions of the sublime, ancient and modern, outlined in Chapter 1: the revelatory knowledge afforded to Lucretius through his grasp of atomism, the transcendent power of great literature for Longinus, and the powerful emotion engendered in the Romantics by the sight of impressive natural phenomena such as a mountain range or a thunderstorm? One of the key ideas to emerge from this discussion – crucial to the rest of the book – is that the sublime is fundamentally about power, and especially the transference of power from the object of contemplation to its subject. The sublime is associated with violence, trauma, and subjugation, as it rips away from us the ground on which we thought we stood; yet it does not need to be complicit with the forces of oppression but can also work for resistance and retaliation. This dynamic of competing sublimes of subjugation and liberation will then help us, throughout the following chapters, to transcend the nihilism/engagement dichotomy that has polarized scholarship on Lucan in recent decades. In turn, Lucan's deployment of the sublime uses it to collapse the opposition between liberation and oppression, and thus the Bellum civile makes its own contribution to the history of the sublime. This is an impressive monograph, much more productively engaged with the details of Lucan's poem than this summary is able to convey; it brought me to a new appreciation of the concept of the sublime, and a new sense of excitement about Lucan's epic poem and its place in the Western tradition.
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NURSIDA, IDA. "MENAKAR HERMENEUTIKA DALAM KAJIAN SASTRA." ALQALAM 27, no. 1 (April 30, 2010): 109. http://dx.doi.org/10.32678/alqalam.v27i1.585.
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The study of literature is signed by an inherent and important activity within it, i.e. interpretation. The activity of literature appreciation and literature criticism, both of its periphery and its orifice, deals with literature studies that should be interpreted. Every interpretation activity of literature works always involves in a hermeneutical process. Hence, hermeneutics occupies a crucial position and it is impossible to disregard it in the analyis of the literature works. Based on that explanation, hermeneutics is something important to discuss comprehensively in order to obtain sufficient understanding. Hermeneutics developed in the literature interpretation deals closely with the development of hermeneutical thoughts, especially on the history of philosophy and theology because it begins to appear from these two subjects. To understand hermeneutics in the literature interpretation, it is necessary to comprehensively understand the history and the concept of hermeneutics, especially dealing with three variants of hermeneutics which develop in the tradition of modern hermeneutics: methodological or theoritical hermeneutics, philosophical hermeneutics, and critical hermeneutics. by understanding these three variants, it enables us to have sufficient understanding on hermeneutics in the literature studies.
Keywords: hermeneutics, literature, catharsis, metodelogical level.
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Castelao-Gómez, Isabel. "Beat women poets and writers: countercultural urban geographies and feminist avant-garde poetics." Journal of English Studies 14 (December 16, 2016): 47. http://dx.doi.org/10.18172/jes.2816.
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The work of Beat women poets and their contribution to the Beat canon was neglected for decades until the late nineties. This study presents a critical appreciation of early Beat women poets and writers’ impact on contemporary US literature drawing from theoretical tools provided by feminist literary and poetry criticism and gender studies on geography. The aim is to situate this female literary community, in specific the one of late 1950s and 1960s in New York, within the Beat generation and to analyze the characteristics of their cultural and literary phenomena, highlighting two of their most important contributions from the point of view of gender, cultural and literary studies: their negotiation of urban geographies and city space as bohemian women and writers, and their revision of Beat aesthetics through a feminist avant-garde poetics.
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Rodiah, Ita. "New Historicism: Kajian Sejarah dalam Karya Imajinatif Ukhruj Minha Ya Mal’un Saddam Hussein." Jurnal Kajian Islam Interdisipliner 4, no. 2 (November 28, 2020): 125. http://dx.doi.org/10.14421/jkii.v4i2.1102.
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Penelitian ini membuktikan bahwa kajian kesusastraan dengan menggunakan new historicism mampu mengungkap pelbagai kekuatan budaya, sosial, ekonomi, dan politik yang menyetubuh dan menyelinap dalam setiap sela teks sastra yang merupakan ranah estetik (aesthetic richness). Penelitian ini mengungkapkan bahwa karya sastra tidak dapat dipisahkan dengan pelbagai konteks zaman dan praksis budaya, sosial, ekonomi, serta politik yang melingkupinya. Penelitian ini tidak sependapat dengan konsep new criticism John Crowe Ransom (The New Criticism, 1941 dan Criticism as Pure Speculation, 1971) dan William K. Wimsatt dan Monroe Beardsley (The Intentional Fallacy, 1946 dan The verbal Icon, 1954) yang mengatakan bahwa karya sastra merupakan autotelic artefact. Sehingga menjadi tidak tepat ketika pemahaman terhadap sastra dikaitkan dengan pengarang, pembaca, maupun konteks di luar karya sastra. Penelitian ini mendukung konsep new historicism Stephen Greenblatt (Practicing New Historicism, 2000) yang menyatakan bahwa dunia imajinatif-estetis tidak pernah terlepas dari relasi kekuasaan dunia realitas yang termanifestasi dalam karya sastra sebagai apresiasi estetis individu dan praksis budaya, sosial, ekonomi, dan politik. Berdasarkan interpretasi kritis new historicism Greenblatt terhadap novel Ukhruj Minha Ya Mal’un diperoleh hasil penelitian berupa pemahaman karya imajinatif yang penuh dengan simbol yang lebih lengkap dan dalam (deeper understanding of value) dengan melibatkan konteks ekstrinsikalitas karya sastra di dalamnya dan novel Ukhruj Minha Ya Mal’un hadir sebagai tanggapan reflektif-imajinatif Saddam Hussein sebagai pengarangnya.[This research proves that literary studies using new historicism can reveal the various cultural, social, economic, and political forces that intercourse and sneak in every literary text: aesthetic richness. This research reveals that literary works cannot be separated from the various contexts of the era and the cultural, social, economic, and political praxis that surround them. This study disagrees with the concept of new criticism John Crowe Ransom (The New Criticism, 1941 and Criticism as Pure Speculation, 1971) and William K. Wimsatt and Monroe Beardsley (The Intentional Fallacy, 1946 and The verbal Icon, 1954) literature is an autotelic artifact. So it is not appropriate when the understanding of literature is associated with authors, readers, and contexts outside of literary works. This research supports Stephen Greenblatt's new historicism concept (Practicing New Historicism, 2000), which states that the imaginative-aesthetic world is never separated from the power relations of the world of reality which are manifested in literature as an individual aesthetic appreciation and cultural, social, economic, and political praxis. Based on the critical interpretation of Greenblatt's new historicism of the Ukhruj Minha Ya Mal'un novel, the research results are in the form of a deeper understanding of imaginative works of symbols (deeper understanding of value) involving the context of the extrinsicality of literary works in it and the novel Ukhruj Minha Ya Mal. 'un appears as the reflective-imaginative response of Saddam Hussein as the author.]
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Görner, Rüdiger. "Poetik der Kritik – Ästhetik des Deutens." Journal of Literary Theory 14, no. 1 (March 1, 2020): 31–54. http://dx.doi.org/10.1515/jlt-2020-0003.
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AbstractSome of the mainly unchartered territories in literary criticism are the implications of Susan Sontag’s frontal attack on traditional hermeneutical practices in Against Interpretation (1969). This contribution to investigations into the modes of interpretation attempts to draw constructive consequences from this provocation and investigate the notion of a ›poetics of criticism‹ emanating into what can be called the ›aesthetics of interpretation‹. In so doing, it explores the Romantic backdrop of this discourse through examining Friedrich Schlegel’s plea for a ›poetization‹ of critique and his demand to turn critical approaches into aesthetic, if not artistic, acts. Then, these reflections examine notions of perception or Anschauung as a cornerstone of comprehension; discuss poetic renderings of thought with Nietzsche, who epitomizes the fusion of reflection and aesthetic production; single out one of Gottfried Benn’s early poems (»Kreislauf«) as an object for putting aesthetic interpretation into practice given the specific character of this Expressionistic text; and, finally, assess elements of theories of recognition in terms of aesthetic practice with specific reference to a paragraph in early Adorno, which highlights cognitive transformation processes as matters of aesthetic experience.Thus, this essay illustrates the interrelationship between critical theory and practice as an aesthetic act, which takes into account the significance of Sontag’s challenge, exemplifying the necessity of finding a language register that can claim to strive towards adequacy in relation to the (artistic) object of criticism without compromising analytical rigour.The argument developed in this contribution towards an aesthetics of interpretation begins with a critical appreciation of various forms and modes of criticism in literature and other aspects of artistic expression. It centres on the significance of the dialogue as an explorative means of critical discourse, ranging from Friedrich Schlegel to Hugo von Hofmannsthal and indeed Hans Magnus Enzensberger. With the (fictive) dialogue as an instrument of aesthetic judgement, ›experience‹ entered the stage of literary criticism negotiating ambivalences and considering alternative points of view often generated from the texts under consideration.In terms of the ambivalences mentioned above, this investigation into the nature of criticism considers the notion of criticism as a form of art and an extrapolation of aesthetic reason as propagated already by Henry Kames, once even quoted by Hegel in connection with the establishing of a rationale for the critical appreciation of artistic products.It discusses the interplay of distance from, and empathy with, objects of aesthetic criticism asking to what extent the act of interpretation (Wolfgang Iser) can acquire a creative momentum of its own without distorting its true mission, namely to assess the characteristics and aesthetic qualities of specific (poetic) texts or other artistic objects. Following the closer examination of several of Nietzsche’s poems and Roland Barthes’s insistence on the segmentation of the linguistic material that constitutes a textual entity worthy of criticism, the article examines one of Gottfried Benn’s early poems (»Kreislauf«, 1912) in respect of its textual and structural dynamics, awkward sensuality as a form of negative eroticism. On the basis of a detailed linguistic, and indeed poetic, examination it shows where, when, and how literary criticism can meaningfully identify structural features as denominators for aesthetic experience.The final section is devoted to instrumentalize Adorno’s point that concepts can turn with some inevitability into images enabling the theory of cognition to acquire some credibility as a potentially fertile basis for aesthetic practice – both in literary criticism and poetic production. With a concluding reference to Paul Celan’s remark that language acquires a Being of its own and that something of existential significance occurs in the poem, this article illustrates that interpretation depends on a successful interplay of cognitive and sensual processes, which leaves criticism somewhere between aesthetic analysis and contextualization as well as between taking linguistic images metaphorically or indeed literarily. Finally, it suggests regarding aesthetic criticism as a way to assess both the actual creative process and its results as if they were involved in a ›dialogue‹ of their own. Therefore, interpretation can be seen as a process that generates its very own dynamics and procedures (i. e. ›poetics‹), either in relation to its object or in form of a juxtaposition. If the latter, the likelihood is stronger that ›interpretation‹ acquires more distinctiveness. Ultimately, however, the (quasi-performative) quality of interpretation depends on its stylistic features, the adequacy of language used, and conceptual stringency without disregarding its essential function, namely to enable a dialogue between the work of art and its recipient and the recipients amongst themselves.
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Pfeijffer, Ilja Leonard. "Shifting Helen: An Interpretation of Sappho, Fragment 16 (Voigt)." Classical Quarterly 50, no. 1 (May 2000): 1–6. http://dx.doi.org/10.1093/cq/50.1.1.
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Denys Page, discussing this poem in his classic Sappho and Alcaeus, seemed unimpressed by its aesthetic merits. In his note on line 7 he says: ‘The sequence of thought might have been clearer.... It seems then inelegant to begin this parable, the point of which is that Helen found O Krλλιστον in her lover, by stating that she herself surpassed all mortals in this very quality’ (p. 53). His interpretative essay phrases further objections. ‘In a phrase which rings dull in our doubtful ears, she proceeds to illustrate the truth of her preamble by calling Helen of Troy in evidence’ (p. 56). About the Helen exemplum itself he says: ‘the thought is simple as the style is artless’ and ‘the transition back to the principal subject was perhaps not very adroitly; managed’ (p. 56). Page's criticism centres on the function of the exemplum of Helen. A close reconsideration of this exemplum, with special attention to the way in which it is embedded in the preceding and following context, will result in a better understanding and appreciation of this poem.
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Tally Jr., Robert T. "Critique and its discontents." Frontiers of Narrative Studies 6, no. 1 (July 1, 2020): 59–76. http://dx.doi.org/10.1515/fns-2020-0006.
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AbstractIn her celebrated study The Limits of Critique (2015), Rita Felski asserts that literary criticism during the past 40 years or more has been beholden to “the hermeneutics of suspicion,” a paranoid approach to interpretation that seeks to uncover concealed or repressed meanings without due appreciation for the texts as it appears. Felski believes that “critique” is necessarily implicated in this suspicious reading, and she argues instead for a postcritical approach to literature that would eschew interpretation in favor of description, affect, and enjoyment. Felski’s argument draws upon related critiques of critique, including calls for “surface reading,” “reparative interpretation,” “thin description,” a “new formalism,” and “ordinary language.” In recent years, the advocacy for a postcritical approach and the critical resistance to that approach, and thus the affirmation of the value of critique itself, have formed one of the more animated debates within literary and cultural studies in the United States and elsewhere. At the same time, perhaps ironically, critique seems more necessary and desirable than ever in confronting contemporary reality in the U. S. In this presentation, Robert T. Tally Jr. will discuss current debates over postcritical approaches to literature, and he will argue for an empowered understanding and employment of critique suited both to literary studies and to the world we live in today.
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Langlands, Rebecca. "Latin Literature." Greece and Rome 64, no. 1 (March 14, 2017): 71–78. http://dx.doi.org/10.1017/s0017383516000255.
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My appreciation of textual criticism – a nowadays somewhat marginalized subdiscipline that continues nevertheless to provide the foundation of our subject – has been vastly enhanced by Richard Tarrant's new book on the subject. I read it from cover to cover with great pleasure and satisfaction (several times laughing out loud, which doesn't happen often with works of scholarship), with great interest, and with dismay at my own ignorance, and I came away determined to be a better Classicist. This little volume is the fourteenth ‘suggestive essay’ published in CUP's Roman Literature and its Contexts series (established in 1990 by Denis Feeney and Stephen Hinds), but it does not – sadly – mark a revival of this excellent series, but rather a late addition. (There cannot be many Latinists of my generation who did not, as young scholars, aspire one day to be the author of one of these elegantly concise yet ground-breaking volumes.) On the face of it this volume is rather different from its predecessors, which usually engaged with cutting-edge theory from a Classical perspective; instead, Texts, Editors and Readers opens up to non-initiates such as myself a whole world of existing scholarship into which many literary scholars seldom venture, inhabited not only by the towering ‘heroic editors’ of the past (Chapter 1) but also by colourful characters such as ‘interpolation hunters’ (86), freewheeling neo-sceptics (77), elegant minimalists, and unrestrained maximalists. With a combination of vivid characterization, lucid explanation, and delicious detail, Tarrant outlines the challenges of establishing a decent text, and the techniques involved; in Chapters 3 to 5 we learn about recension, conjecture, interpolation, collaboration, and intertextuality. He also makes exceptionally clear the issues that are at stake in editing a text, and the tensions with which the discipline is charged. At every stage of the process, from the selection of manuscripts for scrutiny to the display of information in the final edition, choices need to be made that are bound to provoke dissent. The twin aims of providing a legible text and legible apparatus are often in conflict with one another. Eventually, to establish a readable text, an editor needs to choose a single solution and put all alternatives in the apparatus, which must then record the evidence and the decision process as far as possible. Done well, it allows us to understand the process by which the text of the edition has been established, and the contributions made by scholars over the years. But within Classics there is no agreement about precisely how this should be achieved, as Tarrant points out. As he makes clear with his comparison of two reviews of the same edition, one reviewer's ‘accuracy’ and ‘methodological rigor’ is another's ‘frivolous superfluities’ (25–6). Tarrant comments that one would hardly believe these evaluations pertained to the same edition of Lucan, but in fact the picture is consistent and the divergence of opinion is telling; what comes across strongly is that these two reviewers want something very different from their editions. The disagreement here is between a scholar who wants progress towards a better text, amending scribal errors and providing confident, robust conjectures, and another who is glad to find a text relatively untouched, but in the apparatus all the material that enables a reader to come to their own decisions about the variants to be preferred. The merits of both are clear; the tensions are between the aspiration for a readable, usable text and the desire to be transparent about the difficulties involved in establishing that text. A decisive reading may obscure ambiguities; excessive hedging muddies the reading. Every choice involves compromise: minimalists may omit important information that might allow the reader to draw different conclusions; maximalists risk cluttering up the page and seeming undiscriminating. Tarrant (a self-confessed minimalist) alarms us on pages 130–1 with the sight of the monstrous apparatus produced by an unrestrained maximalist. Meanwhile, while conservative critics are averse to new conjectures and stick as close to the manuscript reading as possible, conjecture emerges as a creative art form, where natural talent is enhanced by intimate appreciation of Latin literature and style (73); it can attract great admiration. I now aspire to be able someday to compile, as Tarrant does, my own list of favourite conjectures – a bit like a montage of favourite sporting moments, as one revels in the pleasure of seeing the execution of skilful manoeuvres. Chapter 6 brings our attention to a representative case where textual tradition and literary interpretation cannot be disentangled: is Propertius a ‘difficult’ poet, prone to elliptical writing, or is he an elegant writer whose text has been unfortunately mangled in transmission? In other words, where the text is hard to understand, do we spend our energies reading his poetry as if he were a modernist poet, teasing out cryptic meaning, or do we channel our energies into amending the text to something more easily comprehensible? One's prejudice about the nature of Propertius’ poetry inevitably shapes one's approach to editing the text. The question is insoluble, but the debates thereby evoked are illuminating. As Chapter 2 makes clear, this is a discipline that relies on persuasion and is characterized by strong rhetoric; the contempt and disgust that are directed at fellow scholars and inferior manuscripts are remarkable. Language is often emotive and moralizing; the bracketing of problematic lines described as ‘a coward's remedy’ (86, n. 2). Tarrant himself, who takes a light and genial tone throughout, doesn't shy away from describing a certain practice of citing scholars in the apparatus criticus as ‘an abomination’ (161). One of many evocative details is the idea of Housman storing up denunciations of editorial vices without a particular target yet in mind (68). Traditionally, self-belief and decisive authority have been the hallmarks of the ‘heroic’ style of editing, and these qualities are especially unfashionable in our own era, which prizes the acknowledgement of ambiguity and hermeneutic openness. Tarrant encourages us to accept that the notions of the ‘recoverable original’ or the ‘definitive edition’ are myths, but at the same time to acknowledge that they are necessary myths (40) for this ‘doomed yet noble’ endeavour (156). A critical edition is no more nor less than a provisional ‘working hypothesis’ which invites continued and continual engagement. As Tarrant puts it: ‘any edition, to the degree that it stimulates thinking about the text, begins the process that will lead to its being succeeded by another edition’ (147). Textual criticism should be, therefore, a collaborative endeavour to be marked by humility and an acceptance of the open-endedness of interpretation, of the hermeneutic work that an editor needs to undertake, and also of the overlap between the roles of editor and reader. It is easy to perceive textual criticism – with its heyday in the nineteenth century – as constituting the dry and dusty past of Classics, and indeed Tarrant treats us to a most entertaining account of its Heroic Age, when Housman et al. lashed one another with cruel wit and erudite put-downs. However, Tarrant also makes an irrefutable case for the continued relevance, and indeed the exciting future, of textual criticism – despite the fact that it has lost its position at the centre of our discipline, and so many of us are untrained and unable to appreciate its value. Tarrant's depiction of the discipline brings home the lesson – which we already knew, but now really get – that all classical scholars ought accordingly to be aware of these general issues and to have some grasp of the specific routes by which the text they are reading has been reached, the problematic aspects of that text, and the issues involved in attempting to resolve its problems. Such is the information that an apparatus criticus attempts to convey, and it may therefore be judged on how effectively and efficiently it does so. Having made all of this so clear and in such an engaging fashion, Tarrant concludes by providing as an appendix a helpful guide for the inexperienced to reading a critical apparatus. The final chapters explore two questions in particular: what can technological advances contribute (for instance in access to and presentation of manuscripts), and is the current model of the apparatus criticus fit for purpose? On the latter issue, Tarrant would like to see, at the very least, more scope for providing in the notes nuanced indication of the editor's feelings about the choices he or she has made. He proposes the wider use of phrases that allude to the internal struggles behind a rejected variant, for instance (such as utinam recte or aegre reieco) or the introduction of new symbols for the apparatus that would signal degrees of suspicion – although he doesn't go quite so far as to second Donaldson's suggestion for a pictorial symbol of ‘a small ostrich, with head in the sand’ to denote occasions where an editor follows a manuscript out of despair of making actual sense of the text (58, n. 25). Early in his essay, Tarrant expresses regret that new editions are less likely to be reviewed than other forms of scholarship, and, with the decline in the requisite editorial knowhow, it easy to see why: reviewing a new edition of a text is not a job that can be undertaken with confidence by most scholars of Latin literature. How can one pass judgement on an editor's decisions without a very sound knowledge not only of the work but also of the manuscripts available, of the relationships between them, and of the subsequent critical tradition? How can one comment on individual amendments or conjectures without an understanding of the entire interpretative framework which the critic has brought to bear? One of the many valuable things I have learned from Tarrant's book is that it not always necessary to comment on individual cruces; equally useful can be an evaluation of the general approach and principles upon which an edition is both established and communicated.
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Avsenak, Vanja. "Slovene critics on Sinclair Lewis's novels." Acta Neophilologica 43, no. 1-2 (December 31, 2010): 49–58. http://dx.doi.org/10.4312/an.43.1-2.49-58.
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The purpose of this article is to present the reception of Sinclair Lewis's novels by Slovene critics. Initially, the article focuses on the life and workof Sinclair Lewis, giving special emphasis to social influences that made the author a representative figure in the literary and social world. Thus his works are nowadays to be understood primarily as fiction, but on the other hand also as sociological documents of a social and political situation of the period between the two world wars. Generally, the effect they produce is one of a critical discussion of the nation of the United States. When speaking of the social relevance that Lewis's novels have, it is obvious that his works are the portrayals of Americans and their deficiencies. At the time of their publication Lewis's novels received unfavourable criticism on accountof his overly open pro-European attitude and Slovene critics of the period before World War II emphasise this in much detail. It was precisely this anti-American propaganda in the novels themselves and sincerity on the part of the novelist that won the European critics as well as the readers whenit came to appreciating his works. However, Lewis's view of the Americans, as presented throughout his works, only enhanced his literary credibility as a modern writer. That is why the articles by Slovene critics that appeared after the Second World War, and even more significantly after Lewis's death, almost minutely reflect a more favourable attitude to Sinclair Lewis, which was also the case with foreign literary criticism of the post-war period. Critics still discuss the qualities and flaws of Lewis's novels, but being more lenient they no longer profess that the novels lack in artistic value. They remain, however, primarily relevant as social documents of the pre- and post-war era, which fully presented the American middle-class mentality in America and elsewhere. For this reason, the Nobel Prize for Literature awarded to Sinclair Lewis in 1930 seems duly justified. It signifies appreciation and respect that the American and European readers as well as critics used to have and still have for Sinclair Lewis. Therefore, it is no surprise that his novels are being translated in several foreign languages even in modern times.
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JARRETT, GENE. ""ENTIRELY BLACK VERSE FROM HIM WOULD SUCCEED." Nineteenth-Century Literature 59, no. 4 (March 1, 2005): 494–525. http://dx.doi.org/10.1525/ncl.2005.59.4.494.
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In a letter to a literary editor about promising American writers, William Dean Howells asserted that "a book of entirely black verse" from the African American poet Paul Laurence Dunbar "would succeed." Howells's appreciation of the racial authenticity of Dunbar's dialect poetry belongs to a larger critical and commercial demand for "minstrel realism" in postbellum nineteenth-century American culture. The racialism of blackface minstrelsy created a cultural precondition in which postbellum audiences regarded Black minstrelsy (that is, minstrelsy performed by Blacks) as realistic. This reaction resulted from the commercialization of Black minstrelsy in American culture as an avant-garde cultural performance of racial authenticity. An analogous reaction, I suggest, occurred in 1896, when Dunbar published Majors and Minors and Howells reviewed it in Harper's Weekly. By situating the ideological politics of Howells's criticism of African American literature, I show that Howells ignored the characteristic eschewal of romance and sentiment in Anglo-American literary realism, while also de�ning African American literary realism in these very terms. This apparent inconsistency results from Howells's subscription to racialism, which then helped to perpetuate this de�nition in the dramatic and literary cultures of minstrelsy. Ultimately, the relationship between Howells and Dunbar and the implications for African American writers confronting a White-dominated literary marketplace might be an overwhelmingly familiar story. Less intuitive or obvious, however, are the precise ways in which the racialism of Howells and this marketplace arbitrated the realism of African American literature.
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Morgan, Kathryn A. "Socrates and Gorgias at Delphi and Olympia:Phaedrus235d6–236b4." Classical Quarterly 44, no. 2 (December 1994): 375–86. http://dx.doi.org/10.1017/s0009838800043834.
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It is a commonplace of modern criticism that every text is to be located within a complex network of cultural practices and material. Students of the ancient world may sometimes feel at a disadvantage; we simply do not have as much information as we would like in order to contextualize thoroughly. This has been especially true in the study of Platonic dialogues. The meagre remains of the writings of the sophists against whom Plato measured himself and of the art to which he refers (to mention only two areas) entail that analysis of Plato is often confined to the structure of his philosophy. Of course, the requirements of Plato's arguments must always be assigned primary importance; the relative lack of information about Plato's cultural context has not prevented detailed exposition of his method and achievements. Occasionally, however, a kindly fate allows us to set a dialogue, or part of it, in its appropriate material and ideological context and to create an interface between literary, philosophical, and archaeological evidence. Such evidence may not alter our evaluation of Plato's arguments on the analytic level, but it can enrich our appreciation of his literary artistry and recapture for us some of the resonance that his work would have had for a contemporary audience.
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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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GERLI, E. MICHAEL. "‘Por una gentil floresta’: Invention, Discovery and Desire in a Fifteenth-Century Villancico." Bulletin of Hispanic Studies 98, no. 5 (May 1, 2021): 453–69. http://dx.doi.org/10.3828/bhs.2021.26.
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We persistently fail to appreciate the very status of cancionero poetry as an innovative art form, as literature worthy of serious analysis, and as an intellectual and humanistic pursuit. The villancico ‘Por una gentil floresta’, attributed to both the Marqués de Santillana and Suero de Ribera, is a case in point, a composition that is very well known but grossly underappreciated as a work of art, a cultural commentary, or for its social significance. It exists in multiple incarnations, in both the manuscript and early printed traditions of the cancioneros, attesting to its ample circulation and popularity. While the object of intense philological enquiry regarding issues of authorship, transmission, and possible influence, the numerous studies dedicated to this villancico do not foreclose further discussion of it to achieve greater appreciation of its artistic and human complexity. Close reading illustrates the abundant literary, thematic and cultural possibilities it offers, and allows us to articulate the wealth, intricacy, human understanding and artistic significance of fifteenth-century Castilian courtly verse; possibilities that reach well beyond philology and textual criticism and prove it a rich source for fruitful interpretation that exemplifies the kind of poetry and hermeneutical potential that can be found in the cancioneros.
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Logan, Peter Melville. "PRIMITIVE CRITICISM AND THE NOVEL: G. H. LEWES AND HIPPOLYTE TAINE ON DICKENS." Victorian Literature and Culture 46, no. 1 (March 2018): 125–42. http://dx.doi.org/10.1017/s1060150317000353.
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In a controversial article onthe life and fiction of Charles Dickens, George H. Lewes ponders the inexplicable preference of readers for the novelist's too-simplistic characters over the more complex characters of other writers. He finds an answer in the primitive reaction to fine art: “To a savage there is so little suggestion of a human face and form in a painted portrait that it is not even recognized as the representation of a man” (“Dickens” 150). The implication, it would seem, is that readers turn to Dickens because they are similarly incapable of appreciating more refined modes of art. Today the remark reads as gratuitous and insulting to readers, to Dickens, and to the other cultures Lewes stereotypes as savage. At the same time, the casual nature of the passage also suggests that it reflects commonly held beliefs about primitive life, beliefs we do not have but that Lewes and his readers took for granted. He was clearly safe in assuming such a body of common knowledge, for many other articles in theFortnightly Review(in which Lewes's article appeared in 1872) had similar references to primitivism. Reading through the journal issues of the time, the extent to which anthropological concepts had escaped the covers of books on primitive society and taken up residence in the pages of review essays on contemporary issues – from history, to life in the colonies, to life in Britain itself – is striking. In its print context, the comment about savages and art is less isolated and inexplicable than it is representative of a broad turn to the topic of primitivism in social commentary and analysis during the 1870s.
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Manuwald, Gesine. "Nero and Octavia in Baroque Opera: Their Fate in Monteverdi's Poppea and Keiser's Octavia." Ramus 34, no. 2 (2005): 152–66. http://dx.doi.org/10.1017/s0048671x00000990.
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The imperial history playOctavia, transmitted among the corpus of Senecan drama, has suffered from uncertainty about its date, author, literary genre and intended audience as regards its appreciation in modern criticism. Although the majority of scholars will agree nowadays that the play was not written by Seneca himself, there is still a certain degree of disagreement about its literary genre and date. Anyway, such scholarly quibbles seem not to have affected poets and composers in the early modern era: they recognised the high dramatic potential of the story of Nero and his love relationships in 62 CE along with the involvement of the historical character and writer Seneca.Indeed, this phase in imperial history was apparently quite popular in Italian and German opera of the late 17th and early 18th centuries. The earliest of a number of operatic treatments of the emperor Nero (also the first opera presenting a historical topic) and arguably the best known today is an Italian version:L'incoronazione di Poppea (The Coronation of Poppaea)to a libretto by Giovanni Francesco Busenello (1598-1659) and music attributed to Claudio Monteverdi (1567-1643), first produced in Giovanni Grimani's ‘Teatro di SS Giovanni e Paolo’ in Venice during the carnival season of 1643. Among the latest operas on this subject is a German version, which is hardly known and rarely performed today:Die Römische Unruhe. Oder: Die Edelmütige Octavia. Musicalisches Schau-Spiel (The Roman Unrest. Or: The Magnanimous Octavia. Musical Play)by the librettist Barthold Feind (1678-1721) and the composer Reinhard Keiser (1674-1739), first performed in the ‘Oper am Gänsemarkt’ in Hamburg on 5 August 1705. In this period German opera was generally influenced by Italian opera, but at the same time there were attempts, particularly in Hamburg, to establish a typically German opera.
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Danugroho, Agus. "Eksistensi Tradisi Masyarakat Samin Kabupaten Bojonegoro di Era Modern." SINDANG: Jurnal Pendidikan Sejarah dan Kajian Sejarah 2, no. 1 (January 31, 2020): 1–7. http://dx.doi.org/10.31540/sindang.v2i1.289.
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Traditions that run in society contain norms and values that become part of a group of nations and their supporters. The socialization activities were held for the sake of appreciation of the tradition by each of the supporting communities. One element of tradition in a culture is belief in the form of religion and symbols in it. Samin can be said to be a form of community that is still developing in Java, especially in East Java and Central Java. One of them is the Samin community which is still developing until now in the Japanese Hamlet, Margomulyo Village, Margomulyo District, Bojonegoro Regency. This study raised the existence of the tradition of the Samin Bojonegoro community in this modern era. This is expected to add insight to the readers and especially the local Bojonegoro community to respect and preserve the traditions of their ancestors and not forget the local identity of the region. This study uses historical methods that have heuristic stages, source criticism, interpretation and historiography. This is because this research is related to the object to be studied, namely in the form of history and traditions that exist in the community which can only be explained through descriptions. This research is closely related to the process of collecting primary and secondary data. Primary sources are used in the form of documents, literature studies, observations and interviews with traditional leaders, organizers, and communities directly related. In addition, secondary sources are used in the form of previous research and literature. This research resulted in the existence of the tradition of the Samin community in the Bojonegoro region in this modern era.
Keywords: Existensi, Tradition, Samin, Bojonegoro.
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Williams, Michael C. "Reason and Realpolitik: Kant's “Critique of International Politics”." Canadian Journal of Political Science 25, no. 1 (March 1992): 99–120. http://dx.doi.org/10.1017/s0008423900001931.
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AbstractImmanuel Kant remains a figure of enduring interest to students of international politics both for the content of his writings and for the place which those writings have come to occupy within contemporary debates in International Relations theory. But most of the secondary literature does not have a sufficient appreciation of Kant's wider philosophy and hence misunderstands or distorts his theory of international relations. Once this background is more fully appreciated, Kant's analysis becomes largely immune from many of the standard criticisms levelled against it. A reinterpretation of Kant's critique of international politics is important not only for the position which Kant has come to occupy in contemporary debates. It also raises anew fundamental questions about the theoretical and practical adequacy of the Realist theory of international relations which continues to dominate the discipline.
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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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Rozalia, Kicsi, and Burciu Aurel. "Inside the World – Class Multinationals: A Sectoral Frame." Studies in Business and Economics 14, no. 2 (August 1, 2019): 73–87. http://dx.doi.org/10.2478/sbe-2019-0026.
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Abstract Background. A firm, as it develops, tends to overcome local, regional, and national business environment boundaries by expanding into global economic space. The intense dynamics of internationalization, the expansion of multinational companies from emerging economies, the presence of multinational companies owned by the state are just a few of the specificities that shape the global business environment today. In the literature, these trends have become challenging topics, both open to criticism and appreciation. Aims and approach. In this study we aim to map the expansion of business in the international environment from a sectoral perspective. In this respect, using the data synthesized by UNCTAD in the World's Top 100 non-financial MNEs and Top 100 non-financial MNEs from developing and transition economies, we aggregated, for each sector, the main performance indicators (assets, sales and employment) which reflects the magnitude of the expansion of the activity of the companies included in these ranks outside the economic area of origin. Also, based on the algorithm for calculating the Transnationality Index, we have calculated an aggregate Sectoral Transnationality Index for each of the two tops. Conclusions. The analysis carried out leads to a series of conclusions regarding the dynamics and configuration of the universe of the world's most prominent multinational companies. Although this is mainly an exploratory research, we appreciate that this sectoral approach leads to a deeper level of analysis, expanding the area of knowledge in the field and, at the same time, creating a framework for new investigative perspectives.
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Almufayrij, Haifa. "A Feminist Scheme Conveyed through Catherine Jemmat’s The Rural Lass." Arab World English Journal For Translation and Literary Studies 5, no. 2 (May 15, 2021): 62–75. http://dx.doi.org/10.24093/awejtls/vol5no2.5.
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This study analyses The Rural Lass by Catherine Jemmat (1714-66); the poem will shine a new light on a feminist agenda conveyed through Jemmat’s views through the persona of the rural lass by linking the lass’ own experience with marriage. Challenges in a patriarchal society among female poets in the early ages and before the twenty-first century deserve appreciation for their contributions to early feminist literature. The author will illustrate how Jemmat negotiated her ambitions despite the cultural restrictions that were placed upon her during the 18th century through a rural persona. Jemmat skillfully creates a light-hearted poem, but also one that reflects the determined voice of a speaker who refuses to allow others to dictate her life. Jemmat seems to achieve this in The Rural Lass, as she subtly challenges the parental and societal objections that could often, as in Jemmat’s case, prevent the marriage of a loving couple. This article will study through the feminist literary criticism, that closer analysis of the variations within the metrical composition and of the poetic features in The Rural Lass shows that a deeper level of meaning can be achieved. The structured reasoning ensures that the rural lass appears rational and justly defiant. This paper also explores how a close study of the text allows for the emergence of the admirable spirit of the figure of the rural lass that expresses challenges in a patriarchal society, an eighteenth-century British feminist that has been criticized by her community.
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Sevkusic, Slavica. "Qualitative case study in pedagogical research: Cognitive possibilities and limitations." Zbornik Instituta za pedagoska istrazivanja 40, no. 2 (2008): 239–56. http://dx.doi.org/10.2298/zipi0802239s.
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This paper discusses the cognitive possibilities and limitations of case study, as a qualitative research approach, and the fields of its application in studying pedagogical problems. Special attention is paid to different ways of defining and usual criticism pointed at this strategy in methodological literature of recent date: (1) general, theoretical (context independent) knowledge is much more valuable from actual, practical (context dependent) knowledge; (2) one cannot perform generalizations based on an individual case and therefore case study cannot contribute to the development of science; (3) case study is the most useful in generating hypotheses, that is, for the first phase of research process, while other methods are more suitable for testing hypotheses and building a theory; (4) case study tends to be partial towards verification, that is, the tendency of a researcher to confirm his/her previously established concepts; (5) it is often very difficult to present in brief the specific case study, and especially difficult to deduce general suggestions and theories on the basis of a specific case study. The objections, therefore, regard the possibility of theory development, reliability and validity of the approach, or doubt in its scientific status. The author of this paper discusses the justifiability of these objections and points out to different methodological procedures of arranging and analyzing the data collected for studying the case, which contribute to the reliability of this research approach. As a general conclusion, it is stated that the case method contains all the features relevant for studying pedagogical phenomena: preservation of the integrality of the phenomenon, appreciation of its context, developmental dimension and complementariness of different data sources.
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Langlands, Rebecca. "Latin Literature." Greece and Rome 63, no. 2 (September 16, 2016): 256–63. http://dx.doi.org/10.1017/s0017383516000139.
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Mairéad McAuley frames her substantial study of the representation of motherhood in Latin literature in terms of highly relevant modern concerns, poignantly evoked by her opening citation of Eurydice's lament at her baby's funeral in Statius’ Thebaid 6: what really makes a mother? Biology? Care-giving? (Grief? Loss? Suffering?) How do the imprisoning stereotypes of patriarchy interact with lived experiences of mothers or with the rich metaphorical manifestations of maternity (as the focus of fear and awe, for instance, or of idealizing aesthetics, of extreme political rhetoric, or as creativity and the literary imagination?) How do individuals, texts, and societies negotiate maternity's paradoxical relationship to power? Conflicting issues of maternal power and disempowerment run through history, through Latin literature, and through the book. McAuley's focus is the representational work that mothers do in Latin literature, and she pursues this through close readings of works by Ovid, Virgil, Seneca, and Statius, by re-reading their writings in a way that privileges the theme, perspective, or voice of the mother. A lengthy introduction sets the parameters of the project and its aim (which I judge to be admirably realized) to establish a productive dialogue between modern theory (especially psychoanalysis and feminist philosophy) and ancient literature. Her study evokes a dialogue that speaks to theory – even contributes to it – but without stripping the Latin literature of its cultural specificity (and without befuddling interpretation of Latin culture with anachronism and jargon, which is often the challenge). The problem for a Latinist is that psychoanalysis is, as McAuley says, ‘not simply a body of theories about human development, it is also a mode of reading’ (23), and it is a mode of reading often at cross-purposes with the aims of literary criticism in Classical Studies: psychoanalytical notions of the universal and the foundational clash with aspirations to historical awareness and appreciation of the specifics of genre or historical moment. Acknowledging – and articulating with admirable clarity and honesty – the methodological challenges of her approach, McAuley practises what she describes as ‘reading-in-tension’ (25), holding on not only to the contradictions between patriarchal texts and their potentially subversive subtexts but also to the tense conversation between modern theory and ancient literary representation. As she puts it in her epilogue, one of her aims is to ‘release’ mothers’ voices from the pages of Latin literature in the service of modern feminism, while simultaneously preserving their alterity: ‘to pay attention to their specificity within the contexts of text, genre, and history, but not to reduce them to those contexts, in order that they speak to us within and outside them at the same time’ (392). Although McAuley presents her later sections on Seneca and Statius as the heart of the book, they are preceded by two equally weighty contributions, in the form of chapters on Virgil and Ovid, which she rightly sees as important prerequisites to understanding the significance of her later analyses. In these ‘preliminary’ chapters (which in another book might happily have been served as the main course), she sets out the paradigms that inform those discussions of Seneca and Statius’ writings. In her chapter on Virgil McAuley aims to transcend the binary notion that a feminist reading of epic entails either reflecting or resisting patriarchal values. As ‘breeders and mourners of warriors…mothers are readily incorporated into the generic code’ of epic (65), and represent an alternative source of symbolic meaning (66). Her reading of Ovid's Metamorphoses then shows how the poem brings these alternative subjects into the foreground of his own poetry, where the suffering and passion of mothers take centre-stage, allowing an exploration of imperial subjectivity itself. McAuley points out that even feminist readings can often contribute to the erasure of the mother's presence by their emphasis on the patriarchal structures that subjugate the female, and she uses a later anecdote about Octavia fainting at a reading of the Aeneid as a vivid illustration of a ‘reparative reading’ of Roman epic through the eyes of a mother (91–3). Later, in her discussion of mothers in Statian epic, McAuley writes: ‘mothers never stand free of martial epic nor are they fully constituted by it, and, as such, may be one of the most appropriate figures with which to explore issues of belatedness and authority in the genre’ (387). In short, the discourse of motherhood in Latin literature is always revealed to be powerfully implicated in the central issues of Roman literature and culture. A chapter is devoted to the themes of grief, virtue, and masculinity as explored in Seneca's consolation to his own mother, before McAuley turns her attention to the richly disturbing mothers of Senecan tragedy and Statius’ Thebaid. The book explores the metaphorical richness of motherhood in ancient Rome and beyond, but without losing sight of its corporeality, seeking indeed to complicate the long-developed binary distinction between physical reproduction (gendered as female) and abstract reproduction and creativity (gendered as male). This is a long book, but it repays careful reading, and then a return to the introduction via the epilogue, so as to reflect anew on McAuley's thoughtful articulation of her methodological choices. Her study deploys psychoanalytical approaches to reading Latin literature to excellent effect (not an easy task), always enhancing the insights of her reading of the ancient texts, and maintaining lucidity. Indeed, this is the best kind of gender study, which does not merely apply the modern framework of gender and contemporary theoretical approaches to ancient materials (though it does this very skilfully and convincingly), but in addition makes it clear why this is such a valuable endeavour for us now, and how rewarding it can be to place modern psychoanalytic theories into dialogue with the ancient Roman literature. The same tangle of issues surrounding maternity as emerges from these ancient works often persists into our modern era, and by probing those issues with close reading we risk learning much about ourselves; we learn as much when the ancient representations fail to chime with our expectations.
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WILLIS, KATHERINE E. C. "THE POETRY OF THE POETRIA NOVA: THE NUBES SERENA AND PEREGRINATIO OF METAPHOR." Traditio 72 (2017): 275–300. http://dx.doi.org/10.1017/tdo.2017.4.
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Geoffrey of Vinsauf's Poetria nova must be studied as a poem in its own right as thoroughly as it has been studied as a technical rhetorical treatise; although many scholars have acknowledged the brilliance of his style, few analyses thereof exist. This imbalance in criticism limits our understanding of his ideas and the appeal they held for medieval poets. This study, therefore, focuses on two images in the section on ornatus graves, or weighty ornamentation, the category of figures defined by its reliance on transumptio. In describing its moving effects, Geoffrey uses the imagery of a pilgrimage (peregrinatio) and of a “clear cloud” (nubes serena). Both help him explain how transumptive language at first displaces or hides meaning beneath something that is deceptively ordinary. When that meaning becomes clear to the reader, however, the recognition can be delightful, intoxicating, or even wondrously transporting. The images are not original to Geoffrey, nor are they drawn from the discourse of formal rhetoric. Rather, peregrinatio and the nubes serena have a rich history in liturgical drama, biblical commentary, and iconography where they signify a kind of spiritual transport remarkably similar to Geoffrey's conception of transumptio in terms of process and quality. Thus, the Poetria nova leverages the spiritual significance of the images to make a decisively literary point about the wondrous power of subtle, transumptive language. Only by recognizing the resonance of these images can we fully appreciate just how highly Geoffrey values transumptio. Approaching the Poetria nova with a poet's eye expands the range and scope of likely influences on the treatise and, more importantly, deepens our appreciation for his remarkable commitment as a poet to the affective potential of transumptive language.
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Clampin, David, and Nicholas J. White. "“Is it essential that a steamship company’s poster must have a ship?”." Journal of Historical Research in Marketing 9, no. 4 (November 20, 2017): 386–424. http://dx.doi.org/10.1108/jhrm-06-2017-0027.
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Purpose The purpose of this paper is to explore the nature of marketing communications of British shipping lines in the period from c.1840 to c.1970 to establish the extent to which these outputs reflect extant scholarship which points to the lack of innovation as a key reason for the demise of these lines. Design/methodology/approach The research is built on a survey of >450 posters plotting the shifting nature of advertising messages over this long period in response to the market. This is supported by reading trade press contemporary to the period to establish broader trends in marketing and whether this product sector was aberrant. Findings What is revealed is a generally static response in the promotion of British shipping lines throughout the timeframe, at odds with trends elsewhere. What stands out is the widespread criticism of the time singling out the shipping poster. This suggests an advanced appreciation of the role of the poster and the effectiveness of promotional messages focussing on emotions- versus a product-centred approach. Originality/value Whilst there is an established literature which suggests that the British merchant marine was hamstrung by a pattern of family ownership making adaptation slow, no research to date has expressly read marketing as a window onto that culture. This paper shows that whilst there may have been change within the sector which these British shipping lines responded to, when it came to presenting themselves in public via their communications strategy, they adopted a staid, conservative approach. British shipping lines, throughout the period, had a very fixed idea about who they were and what best represented their business irrespective of dramatic shifts in attitudes concerning how best to reach consumers. Interrogating promotional material, and particularly the ubiquitous shipping poster, provides another insight into the conservative and debilitating corporate culture of British shipping.
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Dmytrenko, V. "ARCHETYPE «SHADOW” IN «STALINKA” BY OLES ULYANENKO." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 1(94) (July 2, 2021): 6–15. http://dx.doi.org/10.35433/philology.1(94).2021.6-15.
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The article deals with Oles Ulyanenko’s first novel «Stalinka» (1994), which presented the appearance of a new extraordinary artist in literature. Today we have a lot of research for this novel and the writer’s works in general, with a radically opposite representation of the artistic component of his works. There are studies, and not only in which the artist is accused of immorality and other «sins», but also those that contain attempts to define the writer as a kind of seer. Such ambiguity and, at the same time, high appreciation of the work of the writer by P. Zahrebelnyi, who initiated the awarding to the novice writer of the unique Small Shevchenko Prize (1997) for the novel «Stalinka», as well as F. Shteinbuk’s monograph «Pid Znakom Savaofa» or «Tam, de …» Ulyanenko» (2020) opened new dimensions for the analysis of the writer’s work. It inspired the author of the publication to comprehend the work of the extraordinary artist from archetypal criticism. The selection of the archetype «shadow» is represented in work in various guises. It is dominant for understanding the characters of the work. The interpretation of the text with the selection of this archetype helps reveal new meanings encoded by the author and gives the work new dimensions in understanding the author’s hyperbole of human sins. The publication argues that the malignant transformation of the individual is the result of external influences associated with the totalitarian reality of Stalin’s time. The general situation in the country has objectified the «shadow” archetype as the collective unconscious in its worst manifestations. Man’s overcoming of his dark nature is presented in the novel through the image of Lord-Yonka, who undergoes a kind of initiation, i.e., a series of dedicated trials, and eventually overcomes the dark part of his soul, becomes ready for another life.
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England, Samuel. "Andalusi Contests, Syrian Media Content: the Poetic Ritual Ijāzah." Journal of Arabic Literature 50, no. 2 (July 15, 2019): 123–47. http://dx.doi.org/10.1163/1570064x-12341382.
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Abstract This article moves the poetic ijāzah from the periphery, where modern scholars have generally placed it, to a central position in Arabic poetry and mass media. The ijāzah was well developed before its adoption in the western Mediterranean, but Cordoban, Sevillian, and expatriate Sicilian poets distinguished the competitive improvised poem from corollary works in the Middle East, where it had first been invented. I argue that it is precisely the Andalusi innovations to the ijāzah’s formal development that have allowed traditional criticism to minimize its importance, against a larger trend of popular audiences appreciating performed ijāzahs, on stage and in mass media. Modern Arabic theatre and television have found enthusiastic audiences for the Andalusi poetic dialogue, a phenomenon that frames my Classical research. Media outlets, including those working closely with government officials, stage the ijāzah in ways that maximize its ideological value. As they use it to promote secularism and putatively benevolent dictatorship, propelling Andalusi literature into current Middle Eastern politics, we critics should seek to understand the dialogic form in its contemporary, insistently political phase of development.
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Machin, David, and Paul Cobley. "Ethical food packaging and designed encounters with distant and exotic others." Semiotica 2020, no. 232 (February 25, 2020): 251–71. http://dx.doi.org/10.1515/sem-2019-0035.
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AbstractThere has been criticism of how Fair-Trade products represent workers in remote parts of the world where packaging offers an encounter with distant others which romanticizes and homogenizes them as a pre-modern form of ethnicity. Such workers are shown as always engaged in authentic, simple, honest decontextualized manual labor. And they are depicted as highly appreciative of, and empowered by, the act of ethical shopping. This paper shows that a close social semiotic analysis of Fair-Trade packaging reveals a different set of meanings which sit alongside the decontextualized ones. Designs integrate these workers into more contemporary kinds of modernist, rational, design chic, which communicates its own kind of honesty and authenticity. We consider how this, too, shapes how such consumers encounter distant others and its consequence for the meaning of the act of ethical shopping, where consumers can buy into moral alignment offered by products.
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Makaudze, Godwin. "Motherhood in Children’s Drama: Selected Cases from Collections on Shona Children’s Literature." Mousaion: South African Journal of Information Studies 35, no. 2 (February 7, 2018): 114–28. http://dx.doi.org/10.25159/0027-2639/2894.
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Motherhood is a construct that is highly criticised especially by feminist scholarships for its alleged subordination, marginalisation and oppression of women. Motherhood as a position and its associated responsibilities are lamented and excoriated as the root causes of women’s disempowerment, docility and invisibility in society. Feminists also conceive motherhood as a position of the feminine that has little influence and is fraught with physical and emotional weaknesses. Using Africana womanist literary theory, this paper is an analysis of motherhood as conceived and conveyed through selected pieces of drama from Scheu, Hamutyinei and Musa’s Mitambo yavadiki navakuru, and Gelfand’s Growing up in Shona society: From birthto marriage, which are collections of Shona children’s literature, with the intent to ascertain this ethnic group’s attitude to and perception of the position, its roles and significance. The paper observes that among the Shona, motherhood is far from being an oppressive and disempowering position – it is a position associated with admiration, power, influence and affluence, important responsibilities, and hence, with visibility and significance. More so, it is not limited to femaleness; it is a fluid and flexible concept that allows even males to assume the same position and social responsibilities. The paper concludes that observations and assertions by Western-oriented scholarships need to be critically examined before being accepted as universal truths, and that indigenous cultures should be researched to establish their perceptions and conceptualisation of reality. It recommends that the appreciation of indigenous cultures’ conceptualisation of reality be approached from the point of view of participants of the culture in question, not outsiders.
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Yeasmin, Nellufar. "Dirt of Art in Madame Bovary." Journal of English Language and Literature 10, no. 2 (October 31, 2018): 1025–28. http://dx.doi.org/10.17722/jell.v10i2.393.
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Flaubert’s Madame Bovary is a unique literary piece that incorporates aestheticism and witty disposure to Emma’s complex reality. The pronounced acceptance and reputation of the novel despite of a prolonged period of criticism proves that the universal appeal of this French novel lies in the artistic and tactful disclosure (in precisely calculative and measured style) of the dark secrets of a feminine mind. The fact that the English translation of this ingenious creation is so influential attests the superiority of its quality in French. The splendor of the narration overreaches the boundaries of life, experience and death and abounds in the exaltation of becoming a masterpiece. This article illustrates the features that make the manuscript so overwhelmingly “dirty” yet inviting. In course of appreciating the novel, the prospects of readers’ fascination and the author’s intentions are also evaluated from the archive of appreciations of the book. The richness of the story is imparted by the pragmatic effect of the objective correlatives in Falubert’s style and the details of the emotional intensities. This study urges to dismantle the complicated value of literature in realizing life. It also reinforces the poetic justice to prevail where art must exist for its sole sake. Emma, the centre of interest in Madame Bovary, is the ambassador of human beings who fail to achieve the mused state of their existence. Flaubert with his strokes of wisdom and dexterous artistic maneuver reveals the ultimate paradox of anarchy in the social conventions designed to annihilate the self in order to discover it. This study unfolds how the story of shame and guilt turns into an allegory of life by the writer’s magic wand.
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Feder, Ellen K. "Tilting the Ethical Lens: Shame, Disgust, and the Body in Question." Hypatia 26, no. 3 (2011): 632–50. http://dx.doi.org/10.1111/j.1527-2001.2011.01193.x.
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Cheryl Chase has argued that “the problem” of intersex is one of “stigma and trauma, not gender,” as those focused on medical management would have it. Despite frequent references to shame in the critical literature, there has been surprisingly little analysis of shame, or of the disgust that provokes it. This paper investigates the function of disgust in the medical management of intersex and seeks to understand the consequences—material and moral—with respect to the shame it provokes.Conventional ethical approaches may not provide quite the right tools to consider this affective dimension of the medical management of intersex, but we find in Nietzsche's Genealogy of Morality a framework that allows us a profound appreciation of its moral significance (Nietzsche 1887/1998). Understanding doctors' disgust—and the disgust that they promote in parents of those born with atypical anatomies—as a contemporary expression of ressentiment directs us to not focus on the bodies of those born with intersex conditions, which have been the privileged objects of attention both in medical practice and in criticisms of it, but moves us to consider instead the bodies of those whose responses constitute the motivating force for normalizing practices in the first place.
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Lerner, Alan, and Erin Talati. "Teaching Law And Educating Lawyers: Closing The Gap Through Multidisciplinary Experiential Learning." International Journal of Clinical Legal Education 10 (July 18, 2014): 96. http://dx.doi.org/10.19164/ijcle.v10i0.80.
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<p>Interdisciplinary legal education found its roots nearly a century ago, but recently there has been a renewed trend both in the literature and in practice to increase interdisciplinary opportunities in clinical and scholarly activities. In the classroom, proponents have argued that interdisciplinary education is essential to understanding the cultural and social contexts in which legal conflicts arise. Additionally, scholars praise the interdisciplinary model – in both teaching and practice – for its tendency to generate a higher level of thinking from those considering problems from diverse viewpoints. The use of interdisciplinary models also promotes mutual respect between professionals from different disciplines, a working knowledge of the domain of another discipline, enhanced communication through learning both the mechanisms and vocabulary of other professions, and increased understanding another discipline’s “rules, beliefs, and ethical principles.” Finally, creating an interdisciplinary framework can enhance the efficacy of the lawyer’s problem solving efforts through providing a means by which goals, strategies, and unique insights of different “helping professions” can be united in pursuit of a common purpose.</p><p>The value that interdisciplinary approaches offer is often sharply countered by the challenges it creates. The most common challenges are those created by perceived or actual role boundaries within individual professions and the process of professional socialization that occurs during traditional legal training. Although this first criticism is challenging, it is not impossible to overcome. The second barrier to productive interdisciplinary work is also mutable, and reversing a socialization process that disfavors interdisciplinary experiences should therefore be a primary focus of legal educators. This paper proposes that interdisciplinary advocacy for children involved in the child welfare system provides an intense experiential learning process, which engages students in a mutually dependent relationship with students from other disciplines and promotes long-term appreciation and facility for interdisciplinary work. It describes this experience in the context of one such clinic, providing a model for the development of future interdisciplinary endeavors.</p>
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Vitolla, Filippo, Nicola Raimo, and Michele Rubino. "Appreciations, criticisms, determinants, and effects of integrated reporting: A systematic literature review." Corporate Social Responsibility and Environmental Management 26, no. 2 (February 19, 2019): 518–28. http://dx.doi.org/10.1002/csr.1734.
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Whelan, Beth, Edvin Schei, and Tom Hutchinson. "Shame in medical education: A mindful approach." International Journal of Whole Person Care 7, no. 1 (January 15, 2020): 11. http://dx.doi.org/10.26443/ijwpc.v7i1.212.
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Shame is a ubiquitous and potentially damaging emotion with many nuances (embarrassment, humiliation, disgrace, remorse, ridicule etc.). It can be defined as “a state of experiencing oneself as devalued, diminished and an object of derision in the mind of another or others, which when internalized textures a sense of oneself”. Shame regulates social behaviour by penalizing deviations from the norm, and rewarding conformity. The influence of shame on physicians and medical learners is conspicuously absent from the literature on emotional challenges in medicine. The dearth of research on shame is not surprising given that “it is shameful and humiliating to admit that one has been shamed and humiliated.” (Lazare, 1987) Existing literature highlights the harmful effects of shame on both physicians and learners. Humiliation is detrimental to student well-being and can lead to feelings of self-doubt, alienation and inferiority, triggers of perfectionism and loss of empathy. Practicing physicians are prone to shame if their authority is undermined, and may exhibit dismissive, defensive, or aggressive behaviors in the face of criticism, patient conflict or disagreements with colleagues. This workshop will explore mechanisms and implications of shame in medicine and medical education. We will present results from interviews with Norwegian medical students, and use an empirically validated approach called Mindful Practice to investigate challenging themes facing health professionals. This approach utilizes critical awareness (investigating the sources of shame), shared dialogue (reflecting on the personal impact of such experiences) and elements of appreciative inquiry (identifying individual qualities that mitigate negative effects).
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Wickman, Matthew. "Theology Still?" PMLA/Publications of the Modern Language Association of America 132, no. 3 (May 2017): 674–80. http://dx.doi.org/10.1632/pmla.2017.132.3.674.
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“I hope my attitude will not be regarded as irreverent,” Maurizio Ascari declares before launching into a critique of Franco Moretti's critical methods (3). By contrast, I undertake no critique of Moretti's methods, but my attitude toward his work is at least somewhat irreverent, if also appreciative. I titled an early draft of this essay “Distant Reading and the New Poetics of Enchantment; or, Toward a Literary History That Is Spiritual but Not Religious.” This title was self-consciously outrageous, since there is little that is overtly enchanted, let alone spiritual, about Moretti's criticism. Indeed, one of the recurring rhetorical fillips in his book Distant Reading involves the disparagement of close reading as a kind of theology: “At bottom,” close reading is “a theological exercise—very solemn treatment of very few texts taken very seriously—whereas what we really need is a little pact with the devil: we know how to read texts, now let's learn how not to read them. Distant reading: where distance … is a condition of knowledge” (48; see also 33, 67, 89, and 113). By invoking enchantment and spirituality to describe his work, then, I was looking to underscore, a little cheekily, how rigorous engagement with his “pact with the devil” reveals similar features to those Moretti partly discredits—namely, credulity, “superstition” (Johnson 84), and “mystery” (Goodwin xiii). In essence, my aim was to employ close reading—of distant reading—as a kind of return, if not revenge, of the repressed.
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Ashwaq Abdullah Fahad Alharbi, Khdijah Mohamad Omar Haji, Ashwaq Abdullah Fahad Alharbi, Khdijah Mohamad Omar Haji. "The essential language needs to develop the performance of female Arabic language teachers in light of the Professional Licensing Standards document for teachers in Saudi Arabia from the viewpoint of teachers and supervisor in Madinah: الاحتياجات اللغوية اللازمة لتطوير أداء معلمات اللغة العربية في ضوء وثيقة معايير الترخيص المهني للمعلمين بالسعودية من وجهة نظر معلماتها ومشرفاتها بالمدينة المنورة." مجلة العلوم التربوية و النفسية 5, no. 29 (August 29, 2021): 1–38. http://dx.doi.org/10.26389/ajsrp.r300521.
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The study aimed at identifying the essential language needs to develop the performance of female Arabic language teachers in light of the document Standards for Professional Licensing for teachers in Saudi Arabia from the viewpoint of teachers and supervisors in Madinah. To achieve this, we have followed a descriptive survey approach where we designed a questionnaire to determine the language needs of female Arabic language teachers. The questionnaire was applied to a sample of female Arabic language teachers and supervisors in the Medina area, Their number reached (756), including (735) female teachers and (21) supervisors, using statistical software (SPSS). The results of the survey demonstrated (73) essential language need to develop the performance of female Arabic language teachers, distributed in the two fields: language skills and linguistics. The results showed also that the overall degree of the language needs I got an overall average (4.15 out of 5), i.e. with a (high) degree, and at the level of the two main areas; (The domain of language skills) got an average of (4.30) with a degree (very large), and it came in first place (the axis of speaking and reading in a correct and sound language, with an average of (4.42), followed by (the axis of proper written expression and taking into account correct spelling with an average of (4.25), then It is followed by (the axis of comprehension of the audio and reading text, with an average of (4.24), all of which are in degrees (very large), while (the field of linguistic sciences skills) got an arithmetic average of (4) with a degree (large), while the axes of the field came in first place, the axis (Grammar). And morphology) with an average of (4.36), to a degree (very large), followed by the (Literature) axis with an average of (3.99), then the (Rhetoric and Criticism) axis with an average of 3.98, then the (Linguistics) axis with an average of 3.96, and came in the last rank (The performances and rhyme averaged (369), all with a degree of appreciation (high). and there were no statistically significant differences between the female teachers ’and supervisors’ views on those needs. Also, there are no statistically significant differences between the responses of female Arabic language teachers concerning language needs due to two variables: years of experience, and the educational level in all units, except for the comprehension of the audio and readable text unit that is attributed to the variable of years of experience in favor of experienced teachers (from 5-10) years. While the comprehension of the audible and read text, and literature units were attributed to the variable of the educational level in favor of female secondary school teachers. Based on the results, the researchers recommended programs for training female Arabic language teachers and designing professional development programs in line with language needs, and engaging female Arabic language teachers in determining the language needs necessary to develop their professional performance in a way that enables them to perform their future roles with high efficiency.