Academic literature on the topic 'Virgil reception in the 20th Century'
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Journal articles on the topic "Virgil reception in the 20th Century"
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Кусенко, Ольга Игоревна. "CURRENT RECEPTION OF VLADIMIR ZABUGINN’S WORKS IN ITALY." Вестник Тверского государственного университета. Серия: Философия, no. 3(53) (October 30, 2020): 248–56. http://dx.doi.org/10.26456/vtphilos/2020.3.248.
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В начале 2000-х гг. в Италии были переизданы два ключевых труда русского филолога, мыслителя Владимира Николаевича Забугина: «Вергилий в итальянском Возрождении: от Данте до Торквато Тассо» и «История христианского Возрождения в Италии». Переиздание этих работ повлекло за собой новую волну интереса к наследию русского автора первой четверти XX в., жившего и работавшего в Италии. После долгих лет забвения труды Забугина о Вергилии, Помпонии Лете, Данте, истории итальянского Возрождения признаны классикой итальянской науки и переоценена его роль в герменевтическом обновлении истории искусств, главными героями которого были Аби Варбург и его школа. Об актуальной рецепции творчества Забугина в Италии пойдет речь в настоящей статье. In the early 2000s, two main works of the key Russian figure in the field of Italian Studies, philologist and thinker Vladimir Nikolaevich Zabugin «Virgil in the Italian Renaissance: from Dante to Torquato Tasso» and «The History of the Christian Renaissance in Italy» were republished in Italy. These editions provoked a new wave of interest to historical and philosophical heritage of the Russian author of the first quarter of the 20th century, who lived and worked in Italy. Previously neglected and forgotten Zabugin’s works on Virgil, Pomponius Lete, Dante, on the history of the Italian Renaissance were recognized as outstanding by leading historians, philologists, philosophers. Finally, his contribution to the hermeneutical turn of art history (whose main characters are considered Abi Warburg and his school) was also appreciated. The paper guides the reader through this current rediscovery and reception of Zabugin’s work in Italy with particular focus on his contribution to the field of renaissance studies.
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García Jurado, Francisco. "Claves y documentos para un Virgilio posmoderno: los años ochenta del siglo XX en España." Nova Tellus 39, no. 1 (2021): 171–203. http://dx.doi.org/10.19130/iifl.nt.2021.39.1.27548.
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In the eighties of 20th century, Vergil was interpreted from a precise and particular approach inspired by Nietzsche. This new vision could be categorized, basically, as the idea of death (Broch), the sickness of poetry (García Calvo), the commemoration (remembrance) of the bimillennium of his death (Colinas), his poetic rereading from a new aesthetics (Borges and Bernhard), the boom of verse translation (Fontán Barreiro) and, finally, the remarkable pictorial rereading of his Eneida (Carlos Franco). Therefore, this essay tries to give an account of a specific decade in Vergil´s historical reception.
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Demchuk, Stefaniia, та Yuliia Kizyma. "Between the sacred and the decorative: Сhristian iconography in the sketches for "Lily" decorative panel by Mykhailo Zhuk". Text and Image: Essential Problems in Art History, № 1 (2020): 102–13. http://dx.doi.org/10.17721/2519-4801.2020.1.07.
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Mykailo Zhuk was a graphic artist and a writer who is among the most famous and influential figures in the history of the early 20th century Ukrainian art. His artworks bear the mark of the in-depth reception of the Art Nouveau style. Although art historians who studied Zhuk’s early period (1904 - 1918) did mention the complex symbolism of his works (including that of the sketches for the floral panels which we shall examine), they avoided plunging deeper in the semantic interweaving he indulged himself in. Thus, this essay shall examine the two panels titled “Lilies”, which were treated mostly as ornamental works deprived of any hidden meaning. It seems that the formal and stylistic analysis should be complemented with the other methods. The iconographic analysis shall allow us to interpret Zhuk’s symbolic language and to discern different semantic layers, and the comparative historical analysis shall help to distinguish typical and individual features in Zhuk’s artworks, which, in its turn, shall allow us to put the artist's work within the pan-European artistic context.Images in Zhuk’s case were supplemented with texts. We could not avoid studying them along with the sketches for they contained the same motives as his graphic works. By means of content analysis we analysed how the artists addressed the image of lily and discovered the biblical bias of its representation in Zhuk’s texts and images. The iconography of the “Lilies”, we suggest, has no direct predecessors and is mainly based on the author’s interpretation of St. John’s Revelation or on works of his teacher at the Krakow Academy of Arts, Stanislaw Wyspiański. For Wyspiański used floral motifs on numerous occasions and experimented with the iconographic types of Virgin Mary in his monumental religious works.
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Cullhed, Sigrid Schottenius. "IN BED WITH VIRGIL: AUSONIUS’WEDDING CENTOAND ITS RECEPTION." Greece and Rome 63, no. 2 (2016): 237–50. http://dx.doi.org/10.1017/s0017383516000115.
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Judging from its history of effect, theWedding Centoproduced by the fourth-century poet Ausonius is in fact not a poem about a wedding at all. It is a work about the ethics of textual recycling; about the impact of political power and patronage on literary production; about smut, or rather about where the responsibility lies when a reader sees smut when none was intended. It is also a poem about sexual violence, but this aspect of the text has been largely missing in its scholarly reception. Such an absence is perhaps to be expected. Sexual assault is a notoriously under-reported offence, and its invisibility tends to extend into the realm of artistic representation and its scholarly treatment. During the last couple of decades, for instance, film scholars have addressed the need to re-read cinematic portrayals of rape in order to unearth it from ‘metaphor and euphemism, naturalized plot device and logical consequence…restoring rape to the literal, to the body: restoring that is, the violence – the physical, sexual violation’. This issue must be addressed here, but first a few words about theCentoand the most prominent trends in its reception.
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La Bua, Giuseppe. "LATE CICERONIAN SCHOLARSHIP AND VIRGILIAN EXEGESIS: SERVIUS AND PS.-ASCONIUS." Classical Quarterly 68, no. 2 (2018): 667–80. http://dx.doi.org/10.1017/s0009838818000551.
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Late Antiquity witnessed intense scholarly activity on Virgil's poems. Aelius Donatus’ commentary, the twelve-bookInterpretationes Vergilianaecomposed by the fourth-century or fifth-century rhetorician Tiberius Claudius Donatus and other sets of scholia testify to the richness of late ‘Virgilian literature’. Servius’ full-scale commentary on Virgil's poetry (early fifth century) marked a watershed in the history of the reception of Virgil and in Latin criticism in general. Primarily ‘the instrument of a teacher’, Servius’ commentary was intended to teach students and readers to read and write good Latin through Virgil. Lauded by Macrobius for his ‘learning’ (doctrina) and ‘modesty’ (uerecundia), Servius attained supremacy as both a literary critic and an interpreter of Virgil, the master of Latin poetry. Hisauctoritashad a profound impact on later Virgilian erudition. As Cameron notes, Servius’ commentary ‘eclipsed all competition, even Donatus’. Significantly, it permeated non-Virgilian scholarship from the fifth century onwards. The earliest bodies of scholia on Lucan, the tenth-century or eleventh-centuryCommenta BernensiaandAdnotationes super Lucanumand thescholia uetustioraon Juvenal contain material that can be traced as far back as Servius’ scholarly masterpiece.
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Kuzina, N. "Reception of the Manifestations of the Culture of Egypt in Russian Literature." Bulletin of Science and Practice 5, no. 11 (2019): 395–403. http://dx.doi.org/10.33619/2414-2948/48/49.
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The paper presents analysis of historiosophical themes, images and motifs reflecting the Egyptian culture in Russian literature of the 19th–20th centuries. They were popular among the authors of the early 20th century not only because of interest in artifacts found in the 19th century but also — and first of all — as part of a significant metaphor ‘Pre-revolutionary / Post-revolutionary Russia VS. Egypt’. There is shown the process of creating this comparison being much later than the ‘Russia VS. Europe’ paradigm in the context of the ‘Myth of St. Petersburg’, which included elements of the Egyptian theme (Sphinxes of the Neva) by the 20th century.
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Terekhova, M. V. "Semiotics of formal menswear of early 20th century." Vestnik of Saint Petersburg State University of Culture, no. 1 (30) (March 2017): 71–74. http://dx.doi.org/10.30725/2619-0303-2020-3-71-74.
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The complex of problems accompanying a process of modern-day reception of historical costume is analyzed. Formal menswear is researched as a hierarchically organized communicational system of semantic elements only conceivable by actors, familiarized with particular semiotic code of the culture. The case of modern-day museum reconstruction of formal menswear of the early XX century is used to illustrate the reasons behind the retrospective semantic misinterpretation of historical costume. In the particular case, a waiter’s uniform was mistakenly perceived by researcher as a typical urban menswear of the 1900’s. A semantic reconstruction of authentic vestimentary codes and meanings was carried out.
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Trupej, Janko. "Ideological Influences on the Reception of Mark Twain among Slovenians across the Atlantic." Acta Neophilologica 52, no. 1-2 (2019): 141–52. http://dx.doi.org/10.4312/an.52.1-2.141-152.
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The article discusses the reception of Mark Twain and his works in serial publications by Slovenian immigrants in the United States of America. The analysis encompassed writings published in newspapers and magazines with different ideological orientations, from the beginning of the 20th century to mid-century. The article compares Twain’s reception in left-wing and right-wing publications and furthermore discusses the extent to which the reception was affected by the contemporary political situation in the United States.
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Do, Hieu Van. "Reception aesthetics in Vietnam." Science and Technology Development Journal 16, no. 2 (2013): 47–57. http://dx.doi.org/10.32508/stdj.v16i2.1462.
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Reception aesthetics is a theory of literature which has exerted major impacts throughout the world from the late 1960s to the late 1980s in the West, espacially dymanically in China from the 1980s of the 20th century to the first decade of the 21st century. In Vietnam, although this theory was born quite early (1985), its mark is still not deeply engraved; thus a lot of potentials not having been discovered and utilized. Recreating the complete appearance of reception aesthetics in Vietnam and explaining the cause of that appearance is an important basis for discussion about the reception of foreign theory. How to make Vietnam literature theory integrated and successfully communicated with the world literature theory? How to make the most effective use of the Western theory in solving problems of the local literature? How to build a firm theory background imbued with national identities in the context of globalization? etc. are the author’s issues of great concerns.
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Sachkova, Natalya M. "CULTURAL RECEPTION OF YOGA ANTHROPOLOGY IN RUSSIA IN THE EARLY 20TH CENTURY." Studia Religiosa Rossica: Russian Journal of Religion, no. 4 (2020): 82–99. http://dx.doi.org/10.28995/2658-4158-2020-4-82-99.
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The research examines the specifics of reception of Yoga anthropology in Russia and its dissemination paths. The end of 19th – early 20th century was marked by the appearance of Russian translations of the academic research, in which Yoga was viewed as one of the Indian philosophical schools. In the same time, the West was witnessing an onset of popularization of Yoga by representatives of Neo-Vedanta, whose writings were also translated into Russian. Those writings were of a popular nature, since their authors sought to make Yoga understandable for Western readers. For the Occult community, the practical aspect of Yoga was the most attractive one. Occultists regarded Yoga as a method of anthropological perfection – both spiritual and physical – and eventual attainment of superhuman powers. Yoga popularization in Russia was to a considerable extent promoted by theosophists, who built their interpretations on contrasting Hatha Yoga and Raja Yoga. In the writings of theosophists, Yoga was presented as a path to attaining arcane knowledge. Russian Occultists created their original interpretations of Yoga. Christian theosophist M.V. Lodyzhensky, despite of considering Yoga as a path to attaining the Superconscious, gave it less appreciation compared to Christian heritage, thus emphasizing the supremacy of Christian tradition. P.D. Uspensky viewed Yoga through the lens of his concept of the Superman, and believed that Yoga practice is a way to achieve an overhuman condition, which the entire humanity will ultimately reach. The interest of Russian community to Yoga should be considered in the context of interest towards the Eastern culture and the belief in the possibility of upcoming transformation of the human nature that were common with the European society of that age
Dissertations / Theses on the topic "Virgil reception in the 20th Century"
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Matters, Emily Helene. "AENEAS IN THE ANTIPODES The teaching of Virgil in New South Wales schools from 1900 to the start of the 21st century." University of Sydney. Classics and Ancient History, 2005. http://hdl.handle.net/2123/716.
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Aeneas in the Antipodes offers an Australian perspective on the teaching of Virgil�s poetry in the secondary school. The study examines practices in the State of New South Wales from 1900 to the early years of the twenty-first century. The changing role of Latin in the curriculum is traced through a historical account showing the factors which caused a decline in the status and popularity of the subject from the beginning of the century to the 1970s. This decline, not confined to Australia, stimulated the introduction of new teaching methods with different emphases which were, to some extent, successful in preserving Latin from extinction in schools. Against this background of change, Virgil remained the Latin author most frequently studied in the final year of school. Because this poetry was so consistently prescribed for public examinations, a detailed investigation is made of the questions set and of the examiners� comments on candidates� performance, as evidence of changes in expectations and hence, in teaching methods. The influence of trends in Virgilian scholarship is assessed by means of a review of all the officially recommended commentaries and secondary works. The growth of literary criticism from the 1960s is shown to have had a marked effect on syllabuses and examinations, and consequently on the approach taken in the classroom. The role of local professional organizations in supporting the teaching of Virgil has been documented, showing how the disappearance of official support for Latin teaching was to some extent counterbalanced by an increase in voluntary effort. The resources and methods used to introduce Virgil to comparative beginners are classified and reviewed. An assessment is also offered of approaches made to teaching Virgil in English at both junior and senior secondary levels. The final chapter reviews the changes brought about since 2000. Current teaching practices are documented through classroom observations and teacher surveys, substantiating the impression that while most students at the beginning of the twenty-first century are less prepared than their predecessors to translate Virgil independently, they are expected to attempt a far more sophisticated analysis of the literary features Note: For appendix 3-10 please see hardcopy edition.
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Grabovskiy, Aleksandr. "Reception of Marxism in 20th Century Russia." Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/211.
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In my thesis I will study how the revolutionary philosophy of Karl Marx and Friedrich Engels was received and interpreted by early 20th century Russian intellectuals in an attempt to reconcile orthodoxy with the real conditions present in Russia. Through analysis of documents spanning several decades of debate, I will trace the evolution of this discussion to unlock the logic that led to philosophy put to action in the form of revolution. Finally, I will evaluate how this logic fits into the historic trajectory described by Marxism.
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Feng, Huanian, and 馮華年. "The reception of western art history in Republican China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31227326.
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Tao, Wenjia, and 陶文佳. "The Chinese reception of Rousseau's political philosophy in the 20th century." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hdl.handle.net/10722/195979.
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The present thesis explores the history of interpretations of Rousseau’s political philosophy in the last one hundred years in China. Ever since the introduction of Of the Social Contract into China at the beginning of the twentieth century, Rousseau became one of the few western thinkers who greatly influenced how the Chinese perceive modern society and politics. Rousseau’s political ideas first generated a growing number of interpretations from 1898 to 1920. In these interpretations, his work was portrayed as the epitome of modern democracy, and his teachings were considered the cure for social problems in China at the time. However, in the recent three decades in China, scholars interpreted his political writings differently. Some even accused him of being the advocate of totalitarianism, and his political theories the theoretical support of dictatorship of the French Revolution. Such different interpretations in different periods of the Chinese reception of his political philosophy raised the question: what caused the distinctive alteration of Rousseau’s image in the last century in China? This thesis intends to provide a possible answer by examining the movement and evolution of interpretations of his political philosophy over the past century.
In this examination, I first introduce the methodology and the theoretical foundation of this dissertation: Gadamer’s hermeneutic method in interpreting a text, and Rousseau’s political philosophy as a whole. In part two and part three, the history of the Chinese interpretations will then be divided into two phases in accordance with the alteration of Rousseau’s image over time. I present and briefly analyze different interpretations of his political theories to provide a thorough overview, as well as different characteristics of the interpretations from both phases. I then employ Gadamer’s hermeneutic method to analyze three interpretations that were most influential in these phases to argue that even though some interpretations contained inaccurate accounts of Rousseau’s texts, all fulfilled the hermeneutic task of understanding these texts in different phases. The cause of the alteration of Rousseau’s image in the last century is the alteration of interpreters’ hermeneutic horizons in different times. As the process of understanding his political writings evolved through the last century in China, these texts constantly generates new fusions of the horizon of the author with the horizons of the interpreters.<br>published_or_final_version<br>Philosophy<br>Doctoral<br>Doctor of Philosophy
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Diazzi, Alessandra. "The reception of psychoanalysis in Italian literature and culture, 1945-1977 : Ottiero Ottietri, Edoardo Sanguineti, Giorgio Manganelli, Andrea Zanzotto." Thesis, University of Cambridge, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709511.
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Platt, Mary Hartley. "Epic reduction : receptions of Homer and Virgil in modern American poetry." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:9d1045f5-3134-432b-8654-868c3ef9b7de.
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The aim of this project is to account for the widespread reception of the epics of Homer and Virgil by American poets of the twentieth century. Since 1914, an unprecedented number of new poems interpreting the Iliad, Odyssey and Aeneid have appeared in the United States. The vast majority of these modern versions are short, combining epic and lyric impulses in a dialectical form of genre that is shaped, I propose, by two cultural movements of the twentieth century: Modernism, and American humanism. Modernist poetics created a focus on the fragmentary and imagistic aspects of Homer and Virgil; and humanist philosophy sparked a unique trend of undergraduate literature survey courses in American colleges and universities, in which for the first time, in the mid-twentieth century, hundreds of thousands of students were exposed to the epics in translation, and with minimal historical contextualisation, prompting a clear opportunity for personal appropriation on a broad scale. These main matrices for the reception of epic in the United States in the twentieth century are set out in the introduction and first chapter of this thesis. In the five remaining chapters, I have identified secondary threads of historical influence, scrutinised alongside poems that developed in that context, including the rise of Freudian and related psychologies; the experience of modern warfare; American national politics; first- and second-wave feminism; and anxiety surrounding poetic belatedness. Although modern American versions of epic have been recognised in recent scholarship on the reception of Classics in twentieth-century poetry in English, no comprehensive account of the extent of the phenomenon has yet been attempted. The foundation of my arguments is a catalogue of almost 400 poems referring to Homer and Virgil, written by over 175 different American poets from 1914 to the present. Using a comparative methodology (after T. Ziolkowski, Virgil and the Moderns, 1993), and models of reception from German and English reception theory (including C. Martindale, Redeeming the Text, 1993), the thesis contributes to the areas of classical reception studies and American literary history, and provides a starting point for considering future steps in the evolution of the epic genre.
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Rockhill, Paul Hunter. "The Reception Theory of Hans Robert Jauss: Theory and Application." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5153.
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Hans Robert Jauss is a professor of literary criticism and romance philology at the University of Constance in Germany. Jauss co-founded the University of Constance and the Constance group of literary studies. Hans Robert Jauss's version of reception theory was introduced in the late 1960s, a period of social, political, and intellectual instability in West Germany. Jauss's reception theory focused on the reader rather than the author or text. The original reception of a text was compared to a later reception, revealing different literary receptions and their evolution. Jauss's Rezeptionsgeschichte (history of reception) illustrated the evolution of the reception of texts and the evolving paradigms of literary criticism that they were a part of. However, Jauss's essays proved to be more of a provocation for change in literary criticism than the foundation for the next literary paradigm. The empirical studies discussed in this thesis reveal the.idealism of Jauss's theory by testing main ideas and concepts. The results show the inapplicability of Jauss's theory for practical purposes. The intent of this study is to illustrate the origins, development and impact of Jauss's version of reception theory. The interrelationship between the social environment, the institutional reforms at the University of Constance, and the methodology of reception theory are also discussed. The new social values in West Germany advocated individualism and questioned status quo institutions and their authority. This facilitated the establishment of the University of Constance, which served as the prototype for the democratization of German universities and the introduction of Jauss's reception theory. With the democratization of the university, old autonomous faculties were broken down into interdisciplinary subject areas. The Old Philology and New Philology department were made into the sciences of language and literature and ultimately introduced as the all-encompassing literaturwissenschaft. Five professors from the Slavic, English, German, Classics and Romance language departments gave up direction of these large departments to work together under the Constance reforms in an effort to form a new concept of literary studies. The result was the socalled theories of "reception" and "effect" which they continue to research.
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Piantanida, Cecilia. "Classical lyricism in Italian and North American 20th-century poetry." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:4422c01a-ba88-4fe0-a21f-4804e4c610ce.
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This thesis defines ‘classical lyricism’ as any mode of appropriation of Greek and Latin monodic lyric whereby a poet may develop a wider discourse on poetry. Assuming classical lyricism as an internal category of enquiry, my thesis investigates the presence of Sappho and Catullus as lyric archetypes in Italian and North American poetry of the 20th century. The analysis concentrates on translations and appropriations of Sappho and Catullus in four case studies: Giovanni Pascoli (1855-1912) and Salvatore Quasimodo (1901-1968) in Italy; Ezra Pound (1885-1972) and Anne Carson (b. 1950) in North America. I first trace the poetic reception of Sappho and Catullus in the oeuvres of the four authors separately. I define and evaluate the role of the respective appropriations within each author’s work and poetics. I then contextualise the four case studies within the Italian and North American literary histories. Finally, through the new outlook afforded by the comparative angle of this thesis, I uncover some of the hidden threads connecting the different types of classical lyricism transnationally. The thesis shows that the course of classical lyricism takes two opposite aesthetic directions in Italy and in North America. Moreover, despite the two aesthetic trajectories diverging, I demonstrate that the four poets’ appropriations of Sappho and Catullus share certain topical characteristics. Three out of four types of classical lyricism are defined by a preference for Sappho’s and Catullus’ lyrics which deal with marriage rituals and defloration, patterns of death and rebirth, and solar myths. They stand out as the epiphenomena of the poets’ interest in the anthropological foundations of the lyric, which is grounded in a philosophical function associated with poetry as a quest for knowledge. I therefore ultimately propose that ‘classical lyricism’ may be considered as an independent historical and interpretative category of the classical legacy.
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Nettelbladt, Anders. "Reception av Helena Munktells kompositioner : Konserter och musikrecensioner 1885-1921." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-190539.
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In this essay the reception of Helena Munktell’s 1885 1921 compositions are mapped andanalysed. The term reception is used to express to what extent Munktell’s compositions wereperformed, and also how they were received in newspaper reviews. The reception is studiedholistically. This means that all identifiable concerts and all accessible newspaper reviews havebeen taken into consideration, and that the mapping and analysis aims to demonstrate how thereception differs between genres and countries, as wel l as how it changes over time.Helena Munktell (1852 1919) was a Swedish composer, pianist, and singer. Hercatalogue is concise, but she composed music in several different genres. In 1915 she wasinducted into The Royal Swedish Academy of Music Munktell was active in both Sweden andFrance, and her work shows traces of Swedish folk music as well as French style elements. Shestudied composition with a number of teacher s, both in Stockholm and Paris. Her mostinfluential teacher was Vincent d’Indy. Through him directly, and César Franck indirectly, hercompositions came to include neo French mannerisms such as cyclic form, colourful chordchanges, and downplaying the imp ortance of melody in favour of harmonic progression.The analysis was done in four stages. In the first stage facts were collected. Thebulk of the source material was gathered from a scrapbook with reviews from Munktell ’sposthumous collections, and from the national database of Swedish newspapers Svenskadagstidningar In the second stage a calendar of all identifiable concerts was comprised. In thethird stage an account of all compositions, concerts, and reviews for each respective genre wascreated. In the fourth stage the results were analysed from a historical perspective and fromPierre Bourdieu’s theory on capital and fieldApproximately 140 concerts have been identified. The vocal genres are dominantmore than half of the performances concern works for vocal soloists. The opera I Firenze wasperformed in Stockholm 13 times. This accomplishment can be attributed to the fact thatMunktell had an abundance of what Bourdieu call s cultural and social capital. The opera andthe vocal performances were almost exclusively well reviewed. Munktell’s compositions werealso successful in France. She became a member of the prestigious organisation SociétéNationale de Musique where several of her compositions were performed. Three of her fourorchestral works were premiered in France, as was her violin sonata. Munktell’s success inFrance can be explained partly by her compositions having a strong French influence, and thefact that cultural capital is highly valued in France. Dalsvit was the only orchestral work thatwas performed in Sweden during her lifetime and it received very mixed reviews. The violinsonata is the instrumental composition that w as performed the most. It received mixed reviewsin the daily newspapers at the time of its first performance in Stockholm in 1905, butconsiderably more positive appraisal after the memorial concert at The Royal Swedish Operain 1921. This can be explained by the societal interest and appreciation of German musicaldominance giving way to F rench musical styles in a different way in 1921.The account from Swedish Musical Heritage Anders Edling’s biography onHelena Munktell, saying that all contemporary re views of Munktell as a composer were positiveis incorrect; they were mixed, varying between genres, and changing over time.A similar analysis could be carried out concerning other composers works. Suchan analysis would make it possible to compare the reception between two or more composers’work, but also how their different prerequisites may have influenced their reception.<br>I uppsatsen kartläggs och analyseras receptionen av Helena Munktells kompositioner under åren 1885–1921. Med reception avses dels i vilken utsträckning Munktells kompositioner blev framförda, dels hur de blev mottagna i tidningsrecensioner. Receptionen utforskas ur ett helhetsperspektiv. Det betyder att alla identifierbara konserter och alla tillgängliga recensioner omfattas och att kartläggningen och analysen syftar till att åskådliggöra hur receptionen skiljer sig åt mellan genrer och mellan länder liksom hur den förändras med tiden. Helena Munktell (1852–1919) var en svensk tonsättare, pianist och sångerska. Hennes verkförteckning är kort men hon komponerade i ett flertal genrer. År 1915 blev hon invald som tonsättare i Kungliga Musikaliska Akademien. Munktell var verksam i både Sverige och Frankrike och i hennes verk finns såväl svenska folkmusikinfluenser som franska stilelement. Hon tog lektioner i komposition för ett flertal lärare, både i Stockholm och Paris. Den lärare som påverkade henne mest var Vincent d’Indy. Genom honom och därmed indirekt genom César Franck kom hennes kompositioner att inrymma stildrag från den nyfranska skolan: cyklisk form, färgskapande ackordväxlingar och nedtoning av melodins betydelse till förmån för harmonisk progression. Undersökningen har genomförts i fyra steg. I första steget samlades fakta in. Huvud-sakligt källmaterial var en klippbok med recensioner från Munktells efterlämnade samlingar samt recensioner från databasen Svenska dagstidningar. I andra steget togs en kalender fram omfattande alla identifierade konserter. I tredje steget utarbetades en redogörelse över kompositioner, konserter och recensioner för respektive genre. I fjärde steget analyserades resultatet ur ett historiskt perspektiv och utifrån Pierre Bourdieus teorier om kapital och fält. Cirka 140 konserter har identifierats. De vokala genrerna dominerar och över hälften av konserterna avser solosång. Operan I Firenze framfördes i Stockholm 13 gånger. Denna bedrift kan till viss del förklaras med att Munktell hade god tillgång till det Bourdieu kallar kulturellt och socialt kapital. Operan och solosångerna fick nästan uteslutande goda omdömen i recensionerna. Munktells kompositioner rönte stora framgångar i Frankrike. Hon blev medlem i den prestigefyllda föreningen Société Nationale de Musique där flera av hennes kompositioner framfördes. Tre av hennes fyra orkesterverk uruppfördes i Frankrike, så också hennes violinsonat. Munktells framgångar i Frankrike kan förklaras dels med att hon till stor del komponerade i fransk stil, dels med att kulturellt kapital värderas mycket högt i Frankrike. Dalsvit var det enda orkesterverk som framfördes i Sverige under hennes levnad och den renderade starkt skiftande omdömen. Munktells violinsonat är den instrumentala komposition som framfördes mest. Sonaten fick ett blandat bemötande i dagspressen efter framförandet i Stockholm 1905 men betydligt positivare omdömen efter minneskonserten på Kungliga Operan 1921. Detta kan förklaras med att den tyska musikstilens dominans hade mattats av och att de franska stildragen uppskattades på ett annat sätt 1921. Uppgiften i Anders Edlings biografi över Helena Munktell i Levande musikarv om att alla samtidens omdömen om Munktell som tonsättare var positiva stämmer inte; de var skiftande, skiljde sig åt mellan genrer och förändrades med tiden. En motsvarande undersökning skulle kunna genomföras rörande andra tonsättares verk. En sådan studie skulle göra det möjligt att jämföra receptionen av tonsättarnas verk och också jämföra vilken betydelse tonsättarnas olika förutsättningar kan ha haft för receptionen.
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Coll-Vinent, Sílvia. "The reception of English fictional and non-fictional prose in Catalonia (1916-38), with particular reference to Edwardian literary culture and associated debates concerning the novel in England, France and Catalonia." Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:e715592b-063c-4a02-9bbb-d89078ec1719.
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The present study opens up the field of Catalan connections with English literature. The importance of Edwardian influences on the general transmission of English authors and works is demonstrated. Original data on the reception of G.K. Chesterton, the Edwardian figure with a most remarkable impact in Catalonia, is brought to light (Chapter 1, Appendix 1), followed by discussion of the presence of H.G. Wells and G.B. Shaw and an account of the reception of Well's early fiction (Chapter 2); their influence sheds new light on the aspiration of an élite to modernise Catalan culture. Catalan translations of English fictional works produced in the period 1918-38 (Chapter 3, Appendix II) are linked to the reception of the roman anglais in the context of the crisis of the roman à thèse, and the meditating influence of French criticism is revealed. The values of romance, adventure, and the common man (from Defoe to Stevenson, from Stevenson to Conrad) constitute the recurrent thread associated with the English tradition and with the Edwardian fictional canon, as these were mediated from France to Catalonia. This panorama of transmission enhances an understanding of Catalan views of the novel, in the light of Edwardian values (Chapter 4), as exemplified in Carles Riba's critical appraisal of two Catalan authors, in the appeal of Joseph Conrad's narrative technique and its influence on J.M. de Sagarra, as well as in the comparison of Frank Swinnerton's Nocturne (a best-seller of 1917) and its Catalan counterpart, M. Teresa Vernet's Les algues roges. This thesis also includes a chronology of the reception of Chesterton and a list of Catalan translations of English works of fiction.
Books on the topic "Virgil reception in the 20th Century"
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Nihon bijutsu no 20-seiki: The reception of Japanese art in the 20th century. Shōbunsha, 2003.
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Iris Murdoch's paradoxical novels: Thirty years of critical reception. Camden House, 2001.
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Recorded poetry and poetic reception from Edna Millay to the circle of Robert Lowell. Palgrave Macmillan, 2010.
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Baines, Patrick A. A historical biography of Peter J. Schmal and his family: A successful early 20th century German-American farming family from Virgil Township, Kane County, Illinois. P.A. Baines, 2005.
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Readers, reading and reception of translated fiction in Chinese novel encounters. St. Jerome Pub., 2010.
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20 Shi ji xi fang fan yi li lun zai Zhongguo de jie shou shi: The reception history of the 20th century western translation theories in China. Shanghai wai yu jiao yu chu ban she, 2009.
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Harris, Peter James. From stage to page: Critical reception of Irish plays in the London theatre, 1925-1996. Peter Lang, 2011.
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R, Hammond J. Lost horizon companion: A guide to the James Hilton novel and its characters, critical reception, film adaptations and place in popular culture. McFarland & Co., 2008.
Find full textBook chapters on the topic "Virgil reception in the 20th Century"
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Roca Ricart, Rafael. "The reception of Tirant lo Blancin Valencia in the second half of the 19th century and the beginning of the 20th century." In IVITRA Research in Linguistics and Literature. John Benjamins Publishing Company, 2015. http://dx.doi.org/10.1075/ivitra.10.09roc.
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Söllner, Alfons. "Re-reading Rousseau in the 20th Century – The Reception by Franz L. Neumann, Jacob L. Talmon and Ernst Fraenkel." In Der lange Schatten des Contrat social. Springer Fachmedien Wiesbaden, 2013. http://dx.doi.org/10.1007/978-3-531-19162-1_9.
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"THOMSON, VIRGIL." In Music in the 20th Century (3 Vol Set). Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-468.
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Pollard, Tanya. "Encountering Homer through Greek Plays in Sixteenth-Century Europe." In Epic Performances from the Middle Ages into the Twenty-First Century. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198804215.003.0005.
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Originally received as oral performances, Homer’s epics circulated in sixteenth-century Europe not only as printed literary texts, but also through performances of a different sort. This chapter argues that fifth-century Greek plays on Homeric material played a crucial role in shaping the epics’ early modern reception. In a phrase widely circulated in the sixteenth century, Aeschylus reportedly claimed that all of his tragedies were ‘slices from the great banquets of Homer’. Although Virgil and Ovid were more familiar vehicles for Homeric material, Greek plays made distinctive contributions to perceptions of Troy and its aftermath through their links with performance, and their status as models for dramatic genres. It is proposed that the versions of Homer transmitted through Greek plays had an important role in shaping not only early modern understandings of Homer, but also the development of the early modern popular stage.
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Pedde, Brigitte. "Reception of Ancient Near Eastern Architecture in Europe and North America in the 20th Century." In Time and History in the Ancient Near East. Penn State University Press, 2013. http://dx.doi.org/10.5325/j.ctv1bxgzf2.38.
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Pedde, Brigitte. "Reception of Ancient Near Eastern Architecture in Europe and North America in the 20th Century." In Time and History in the Ancient Near East. Penn State University Press, 2013. http://dx.doi.org/10.1515/9781575068565-036.
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Berry, D. H. "Catiline in the Underworld and Afterwards." In Cicero's Catilinarians. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780195326468.003.0006.
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This chapter reviews the reception of Cicero’s Catilinarians over the two millennia from Sallust’s Bellum Catilinae until the present day. Particular attention is paid to Virgil’s Aeneid, to Ben Jonson’s Catiline His Conspiracy (1611), and to Ibsen’s Catiline (1850). The chapter also surveys the influence of the Catilinarians on Roman poetry after Virgil, on Roman historiography after Sallust, and on Christian writers. The late antique, medieval, and renaissance declamations that draw on the Catilinarians (including two speeches each known as the Fifth Catilinarian) are discussed, as is the influence of Catiline on Florentine historiography. Plays and operas about Catiline by Voltaire, Salieri, Dumas, and others are included. Mention is made of the study of the Catilinarians undertaken by two American presidents, John Adams and John Quincy Adams. The chapter ends by showing how in the twentieth century these speeches first started the young Bill Clinton on his path toward the White House.
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Barberio, Michele Gabriele, and Donata Ippolito. "La letteratura spagnola nelle riviste italiane del secondo Novecento Verso un primo censimento." In Biblioteca di Rassegna iberistica. Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-459-2/008.
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This article examines the results of a research conducted within Italian literary journals of the second half of the 20th century, with the aim of verifying the presence of Spanish-speaking literature in the Italian literary field of journals. The presence of Spanish and Spanish-American literature in this cultural field could be, in fact, indicative of a greater or lesser reception of such authors by the Italian public and cultural agents. After a brief presentation of the applied methodology, the results of the research will be discussed.
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O'Donoghue, Bernard. "5. Poets and readers." In Poetry: A Very Short Introduction. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780199229116.003.0005.
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‘Poets and readers’ is concerned with the respective roles of poets and readers in the creation of meaning as well as the function of critics and readers: a function that has attained increasing prominence in the 20th century and since, with the emergence of theories of reader response and the reception of poetry. Is the term poet reserved for a kind of elect or is it a name anyone can aspire to? The whole question of authorship and authority is also considered: whether the poem generally—or ever—speaks in the voice of the poet, and how that voice may relate to its audience.
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Mitter, Rana. "6. Is Chinese culture modern?" In Modern China: A Very Short Introduction. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780198753704.003.0006.
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The idea that China’s culture is tied up with its place in the modern world has persisted since the Opium Wars. Chinese culture is highly valued around the world in terms of literature, films, artists, and ideas. The desire to find a culture that is both modern and derived from Chinese inspirations continues to drive Chinese artists’ ambitions. ‘Is Chinese culture modern?’ considers cultural progress and the international reception of China’s writers, artists, architects, and film-makers. During the 20th century, China tended to absorb cultural norms from around the world. To some extent, this trend is being reversed and China is beginning to project out cultural influence (or ‘soft power’).
Conference papers on the topic "Virgil reception in the 20th Century"
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Kosorukova, Alexandra. "On Reception of Nietzschers Idea of God in the Russian Philosophy (Late 19th-Early 20th Century)." In 3rd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/iccessh-18.2018.9.
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Kryshtop, Ludmila, and Ruzana Pskhu. "The Reception of the Indian Thought by the Culture and Art of Europe of the 20th Century." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.2.
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Rek-Lipczynska, Agnieszka. "PATTERNS AND HISTORICAL COSTUMES IN PRUSSIAN RESIDENTIAL ARCHITECTURE IN THE 19TH AND THE FIRST DECADES OF THE 20TH CENTURY AND THE RECEPTION OF THESE DESIGNS IN THE ARCHITECTURE OF RURAL HOUSES." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/5.3/s21.084.
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