SCIENTIFIC FEAT OF IGOR KACHUROVSKYI

2019 ◽  
pp. 369-375
Author(s):  
Anatoliy Tkachenko
Keyword(s):  
Literary Criticism ◽  
Literary Critic ◽  
Binary Opposition ◽  
Artistic Practice ◽  
Unique Character ◽  
Metric Dimensions ◽  
Original Observation

Іgor Kachurovskyi is a poet, prose writer, translator, literary critic. The author of article-essay dwells only on literary criticism of his hypostasis, and more specifically – poetry. Metrics, strophics, phonics, generics, literary stylistics is his scientific element and his heroic activity. The unique character of the philologist is his free mastery of material and free engagement of illustrations also from his own artistic practice, sometimes polemical unention of authority, and even though the deliberate encouragement of the reader to a dispute or just to not dogmatic thinking. The original observation of the non-absolute syllabic, the presence of metric syllables in it and those that the researcher called grammatical, and it seems that they are should better be described as rhythmovaria- tional, because not changing the meter, they vary the rhythm ( we talk about not grammar but about rhythm and its metric dimensions). Thoughts about metric pluravalency that is multidimensionality of some textx are very interesting and important. A specialist in poetry is persuasive in his opinion about types of rhythm and clauses. Why should we use borrowed French terms a “male” clause (and rhyme), a female clause (and rhyme) when the French themselves have already reduced “female” stresses? In addition, the terminological series of “male” – “female” – “dactylic” – “hyperadactic” is not successive. It would be better in the following way: choreic – yambic – dactylic ... As for a clause, then the Greek terms “oxytone”, “paroxytone”, “proparoxytone” are bulky. The best is to use clear digital terms – 1-syllable, 2-syllable, 3-syllable, 4-syllable, 5-syllable... and even 5-syllable clause. The approach of I. Kachurovskyi to phonics was much more systematic comparatively with “continental” literary criticism. His phonics reaches a binary opposition euphony / cacophony. It gives grounds to a deeper structuring of these phenomena in dimen- sions paradigmatics / syntagmatics.

The “Idea of Human” Literary Category: Epistemological Potential

2021 ◽  
pp. 23-31
Author(s):  
Vyacheslav M. Golovko ◽  
Keyword(s):  
Literary Criticism ◽  
Modern Science ◽  
Artistic Practice ◽  
Object Knowledge ◽  
Human Type ◽  
A Value ◽  
The World ◽  
Literary Process ◽  
Relevant Category ◽  
Successive Change

The “idea of human” (“type of attitude to the world”) is considered as a relevant category of the conceptual apparatus of the modern science of literature. The aim of the work is to analyze the theoretical and methodological potential of this category on the basis of large typological units of the literary process, marked with the concepts of “historical and literary era”, “artistic and cognitive cycle”, “literary direction”, “big style”, “artistic method”. The research used the methods of a typological and complex study of literary works, which in the synthesis of literary criticism and philosophy determine the strategy of searches in the field of theoretical and methodological content of the “idea of human” category as the foundation of the literary and philosophical anthropology of cultural and historical eras. The historical and genetic links between the worldview aesthetic principles and the artistic practice of literary trends are problematized. The logic of the research reveals the concept “object – knowledge”, fundamental for epistemology, in the aspects of the structuring of the knowledge of the methodological semantics of the “idea of human” category and of the functioning of the definitions “generalized idea of human”, “type of attitude to the world”, “concept of human and reality”, “whole of human”, “human as a value”. The article shows that the “idea of human” as a philosophical and aesthetic interpretation of the nature and essence of human at a certain stage in the development of artistic consciousness, worked out by the whole culture (R.R. Moskvina, G.V. Mokronosov) and defining integrity and logical consistency of the artistic system, is a synergistically functional semantic core of the historical and cultural era, and this core contains the dialectical potential of “negation of the negation”. As a variable, the historical “idea of human”, in the perspective of the stage development of artistic consciousness, undergoes dramatic changes and is realized in the logic of the successive change of historical and cultural epochs and their philosophical paradigms, in the constant alternation of “realistic” and “mystical”, materialistic and idealistic methods of cognition and images of human and the world (D.I. Chizhevsky, A.M. Panchenko, and others). The conclusions are substantiated that the successive development of literary trends, creative methods and their axiological systems is conditioned by the dynamics of “types of attitude to the world”; that the functioning of the “idea of human” category in literary discourse is focused on argumentation of the ontological nature of fiction, on the identification of philosophical and aesthetic principles that determine the systematic nature and the successive change of artistic and cognitive cycles; that the evolution of the “idea of human” within the framework of one artistic and cognitive cycle is fixed by the dynamics of genre systems since, in the correlations of method, genre and style, “the idea of human” acts as a factor in genre formation.

scholarly journals Cultural Transfer as New Methodology of Comparative Research on Cooperation of Cultures

2019 ◽  
pp. 71-81
Author(s):  
Halyna Syvachenko
Keyword(s):  
Literary Criticism ◽  
Comparative Studies ◽  
Cultural Theory ◽  
Binary Opposition ◽  
Cultural Transfer ◽  
Cultural Space ◽  
Priority Direction ◽  
History Of ◽  
Simultaneous Study ◽  
Different Cultures

A theory of cultural transfer was the branch of comparative literary criticism, although this theory declared its sharp opposition against the mentioned tradition of study. The comparative studies in humanities are based on the ideas of specificity of every culture, even when one deals with the influence of one culture on another. Instead of this approach, the theory of cultural transfer promotes not only a simultaneous study of several cultural and national spaces but also a research on disseminations and transformations that appear at any rapprochement between cultures both in an influential culture and in a perceiving one. Consequently, it is not the binary opposition that must be taken into account in cultural transfer but two cultures, one of which is necessarily comprehended as a culture-recipient, although the whole scheme is much more complicated. Any transition from one cultural space into another easily may cause some transformation. Other ‘new element’ in the theory of cultural transfer is positioning the study of a cultural space periphery, i. e. connections with alien cultural space that every culture necessarily supports, in a center. This approach demonstrates that any phenomenon, no matter how specifically national it may be, actually is a complicated alloy of different cultures and influences. The objects of cultural transfer include the history of translation. Another priority direction is a comparative study of the national forms of comparativism related to the history of intellectual and spiritual relations between different countries and nations. During the transfer from one cultural situation into another any object gets into another context and acquires a new meaning. As focus of attention of a theory and studies of translation was shifting to the context of creation, operation and perception of translations, the research on the translated texts increasingly crossed the boundaries of the related disciplines that enabled learning this context – sociology, comparative studies, economics, history, cultural studies. The scholars aim to indicate the ways of manipulating the readers via translation, to explicate interests and values brought with every translation, to show how it forms the culture-receiver and values of society. The most attention is paid to the issues of ideology, economy and politics, the problems of ethnic responsibility of the translator. The object of cultural translation studies is the text in the system of literary and extra-literary meanings within the initial and receiving cultures. Cultural theory of translation raises the question of cultural prestige of the selected texts and determines the basis of this selection, the principles of forming and changing their status. One may focus also on the role of the commentator as an intermediary between the translator of the text and the readers to whom the translator wants to make his way through.

Interpretative Syntax

PMLA ◽  
1900 ◽  
Vol 15 (1) ◽  
pp. 97-113
Author(s):  
C. Alphonso Smith
Keyword(s):  
Literary Criticism ◽  
Modern Trend ◽  
Literary Critic ◽  
English Syntax ◽  
Interpretation Of Literature ◽  
The Prestige

I am well aware that the expression interpretative syntax has not the prestige of previous usage. Indeed no one at all familiar with the modern trend of syntactical studies could say that they serve in the slightest degree as aids in the interpretation of literature. It seems to be assumed that syntax has nothing to do with literary criticism or with stylistic effects. And as the study of English syntax is now conducted, one can hardly imagine two persons more alien in their aims and methods than the literary critic and the writer on syntax.

STEPHEN GREENBLATT, NEW HISTORICISM, AND CULTURAL HISTORY, OR, WHAT WE TALK ABOUT WHEN WE TALK ABOUT INTERDISCIPLINARITY

2004 ◽  
Vol 1 (2) ◽  
pp. 249-265 ◽  
Author(s):  
SARAH MAZA
Keyword(s):  
Literary Criticism ◽  
Cultural History ◽  
Social Practices ◽  
Literary Texts ◽  
New Historicism ◽  
Literary Representations ◽  
Literary Critic ◽  
New Criticism ◽  
Canonical Texts ◽  
Historical Practices

Michael Warner, a literary critic with a keen sense of history, wrote in 1987 that “New Historicism is a label that historians don't like very much because they understand something different by historicism. But nobody's asking historians….” This essay is an answer to questions nobody asked me, questions about interdisciplinarity and the differences between literary critical and historical practices. A return to historically informed literary criticism, which many critics still consider a dominant trend in the profession, emerged in the early 1980s following the publication of Stephen Greenblatt's acclaimed Renaissance Self-Fashioning (1980). Reacting as it did against the decontextualized abstractions of New Criticism and Deconstruction, the movement soon labeled New Historicism sought to breathe new life into canonical texts by relating them to non-literary texts and social practices of their day. This historicist inclination should have formed the basis for a coming together of the movement's practitioners with historians interested in literary representations. But no such merger has occurred: New Historicists evince little interest in the systematic, archivally based study of history, and historians have at best shown indifference to the work of Greenblatt and his followers.

scholarly journals ANALISIS TUGAS MENULIS KRITIK SASTRA SUNDA DALAM MATA KULIAH KRITIK SASTRA DI JURUSAN PENDIDIKAN BAHASA DAERAH FPBS UPI TAHUN AKADEMIK 2012/2013

2014 ◽  
Vol 13 (2) ◽  
pp. 158
Author(s):  
Retty Isnendes
Keyword(s):  
Literature Review ◽  
Literary Criticism ◽  
Academic Writing ◽  
Task Analysis ◽  
Literary Critic ◽  
Content Type ◽  
Writing Task

AbstrakAnalisis Tugas Menulis Kritik Sastra Sunda dalam Mata Kuliah Kritik Sastra di Jurusan Pendidikan Bahasa Daerah FPBS UPI Tahun Akademik 2012/2013. Tujuan penelitian ini adalah mendeskripsikan: (1) kecenderungan jenis kritik mahasiswa dan (2) kualitas kritik sastra mahasiswa. Metode yang digunakan adalah deskriptif dengan teknik: telaah pustaka, observasi, dokumentasi, dan analisis. Hasil yang didapat adalah sebagai berikut. Kecenderungan jenis kritik yang dipergunakan mahasiswa meliputi jenis tulisan dan jenis isi. Jenis tulisan kritik mahasiswa adalah sastrawan dan akademik, sedangkan jenis isinya adalah intrinsik dan ekstrinsik. Kualitas kritik mahasiswa dengan pola tulisan sastrawan dan akademik adalah: cukup, baik, dan sangat baik nilainya. Adapun kualitas kritik mahasiswa dengan pola tulisan akademik pada kritik tugas kelompok adalah baik dan sangat baik. Saran ditujukan bagi mahasiswa, tim dosen, dan lembaga JPBD.Kata kunci: Tugas, kritik sastra, Jurusan Pendidikan Bahasa Daerah Abstract Writing Task Analysis of Literary Criticism in Literary Criticism in Jurusan Pendidikan Bahasa Daerah FPBS UPI 2012/2013. The purpose of this study is to describe: (1) the tendency of criticism types of students and (2) quality of student literary criticism. The method used is descriptive techniques: literature review, observation, documentation, and analysis. The results are as follows. Tendency kind of criticism that students used include the type of writing and content type. Type of writing is a literary critic and academic students, while it is a kind of intrinsic and extrinsic. Quality of student criticism with literary and academic writing pattern is: pretty, good, and excellent value. As for the criticism of the quality of students with academic writing patterns on group assignments criticism is good and very good. Suggestion is intended for students, faculty teams, and institutions JPBD.Keywords: Assignment, literary criticism, Jurusan Pendidikan Bahasa Daerah

scholarly journals SERHII YEFREMOV’S COOPERATION WITH THE WESTERN UKRAINIAN PRESS: MEMORIAL RECEPTION

2021 ◽  
Author(s):  
Valentyna Halych
Keyword(s):  
Literary Criticism ◽  
Historical Context ◽  
Literary Critic ◽  
Long Time ◽  
Western Ukraine ◽  
History Of ◽  
Historical Comparative ◽  
And Function ◽  
Xix Century ◽  
Relationship Of

The subject of the study is the cooperation of S. Efremov with Western Ukrainian periodicals as a page in the history of Ukrainian journalism which covers the relationship of journalists and scientists of Eastern and Western Ukraine at the turn of the XIX-XX centuries. Research methods (biographical, historical, comparative, axiological, statistical, discursive) develop the comprehensive disclosure of the article. As a result of scientific research, the origins of Ukrainocentrism in the personality of S. Efremov were clarified; his person as a public figure, journalist, publisher, literary critic is multifaceted; taking into account the specifics of the memoir genre and with the involvement of the historical context, the turning points in the destiny of the author of memoirs are interpreted, revealing cooperation with Western Ukrainian magazines and newspapers. The publications ‘Zoria’, ‘Narod’, ‘Pravda’, ‘Bukovyna’, ‘Dzvinok’, are secretly got into sub-Russian Ukraine, became for S. Efremov a spiritual basis in understanding the specifics of the national (Ukrainian) mass media, ideas of education in culture of Ukraine at the end of XIX century, its territorial integrity, and state independence. Memoirs of S. Efremov on cooperation with the iconic Galician journals ‘Notes of the Scientific Society after the name Shevchenko’ and ‘Literary-Scientific Bulletin’, testify to an important stage in the formation of the author’s worldview, the expansion of the genre boundaries of his journalism, active development as a literary critic. S. Yefremov collaborated most fruitfully and for a long time with the Literary-Scientific Bulletin, and he was impressed by the democratic position of this publication. The author’s comments reveal a long-running controversy over the publication of a review of the new edition of Kobzar and thematically related discussions around his other literary criticism, in which the talent of the demanding critic was forged. S. Efremov steadfastly defended the main principles of literary criticism: objectivity and freedom of author’s thought. The names of the allies of the Ukrainian idea L. Skochkovskyi, O. Lototskyi, O. Konyskyi, P. Zhytskyi, M. Hrushevskyi in S. Efremov’s memoirs unfold in multifaceted portrait descriptions and function as historical and cultural facts that document the pages of the author’s biography, record his activities in space and time. The results of the study give grounds to characterize S. Efremov as the first professional Ukrainian-speaking journalist.

scholarly journals P.N. Medvedev on the Methodological Foundations of the Study of the Work of F.M. Dostoevsky

2020 ◽  
Vol 7 (1) ◽  
pp. 57-65
Author(s):  
T.P. Batalova ◽  
G.V. Fedyanova
Keyword(s):  
Literary Criticism ◽  
Formal Method ◽  
Literary Critic ◽  
Outstanding Scientist ◽  
Main Work ◽  
Methodological Principles ◽  
Orthodox View

This article considers the methodological principles of studying the work of Dostoevsky, developed by an outstanding literary critic, critic and publicist of the 1920s and 1930s. Pavel Nikolayevich Medvedev, who was repressed on falsified political charges and shot by the NKVD in 1938. The scientist's main work is “The formal method in literary criticism. A Critical Introduction to Sociological Poetics”- in 1973 it was illegally attributed to M. M. Bakhtin, and his name was turned into a literary “mask” by M. M. Bakhtin. The works of P. N. Medvedev of the 1920s and 30s, currently published in the two-volume Collected Works of P. N. Medvedev, (St. Petersburg: Rostock 2018), prove the need to study his research on the “genre”, the idea of the author, which in the works of Dostoevsky is associated with the Orthodox view. The results of the study show the originality of the methodological principles of P. N. Medvedev and prove the need to return to science the name of this outstanding scientist and his works.

The Life and Travels of Xavier Marmier (1808-1892)

2007 ◽  
Author(s):  
Wendy S Mercer
Keyword(s):  
Literary Criticism ◽  
Cultural History ◽  
Travel Writing ◽  
French Literature ◽  
Historical Context ◽  
Private Life ◽  
Intellectual Life ◽  
Literary Critic ◽  
History Of ◽  
Headline News

This is the first critical biography of Xavier Marmier. The celebrity of Marmier was such that his death made headline news in most major newspapers in France. Marmier earned his reputation by being a traveller, travel writer, translator, literary critic, comparatist, journalist, novelist, poet, lecturer, linguist, ethnologist, social historian, and latterly as an outspoken member of the Académie Française. His work had a great deal of influence, both direct and indirect, on literary and intellectual developments in France, and also had a significant impact in a number of the countries he visited. Although his name still figures in studies of comparative literature or the history of travel writing, Marmier's innovations have gradually been eclipsed by his successors in various fields, resulting in the neglect of his overall achievements. Marmier's numerous and diverse achievements are assessed in their intellectual and historical context, and within the framework of his colourful and somewhat controversial private life. This book will be of interest to scholars and students of the history of nineteenth-century French literature and intellectual life, the history of literary criticism, travel writing, the introduction of foreign literature to France, and those with an interest in the intellectual, social, and cultural history of the regions Marmier visited.

The Painter as Critic: Hazlitt's Theory of Abstraction

PMLA ◽  
1970 ◽  
Vol 85 (5) ◽  
pp. 1072-1081
Author(s):  
Roy Park
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Modern Philosophy ◽  
Literary Criticism ◽  
Major Influence ◽  
Literary Critic ◽  
Early Nineteenth Century ◽  
Subsequent Work ◽  
Response To Literature ◽  
Critical Movement

Hazlitt's early interest in painting and philosophy profoundly influenced his subsequent work as a literary critic. His view of abstraction as a process of individuation rather than generalization, developed between 1805 and 1812, was an improvement on the nominalist and conceptualist theories of the eighteenth century and anticipated the findings of modern philosophy. In its development, Hazlitt was clearly influenced by his training as a painter and his general conclusions find support in the writings of contemporary and nearcontemporary painters and art critics. His theory has important esthetic implications and provides a philosophical and psychological rationale for the new critical movement toward particularity in the evolution of which painting was a major influence. Since it was within this tradition that Hazlitt worked, it also determined the nature of his response to literature and the manner of its expression in his criticism. The influence of painting on his critical terminology suggests caution in accepting the view that music replaced painting as the dominant analogy in the literary criticism of the early nineteenth century.

scholarly journals V. M. Zhirmunsky in Hungary, 1962: Towards the history of the scientific ties

2021 ◽  
pp. 452-476
Author(s):  
Mikhail V. Kovalev
Keyword(s):  
International Relations ◽  
Literary Criticism ◽  
Literary Critic ◽  
Joint Research ◽  
Management Efficiency ◽  
Science Diplomacy ◽  
Science Management ◽  
History Of ◽  
Scientific Report ◽  
The Cold War

The scientific report of an outstanding linguist and literary critic V. M. Zhirmunsky on his trip to Budapest in October 1962 to an International conference on comparative literature is published with comments and the introduction. This document is not only remarkable in the context of the history of Soviet-Hungarian scientific ties and intellectual exchanges between socialist countries, but also in the light of the history of literary criticism and Slavic studies. It’s interesting because the document reflects the views of the major scientist on the development of international scientific contacts, shows his criticism of the Soviet academic bureaucracy and cautious dissatisfaction with the existing system of science management. The report is also important in connection with the study of intellectual transfers in the Cold War era. The presented document reveals pain points in the history of Soviet science diplomacy. A detailed introduction shows the interaction of V. M. Zhirmunsky and his colleagues with Hungarian scientists, their joint research projects. A special place is given to the figure of Prof. István Sőtér, a prominent Hungarian literary critic and writer, who was the initiator of the 1962 conference. His relations with Soviet scientists, in particular, with Yu. G. Oksman, whom the Hungarian scientist tried in vain to invite to the aforementioned Budapest conference. At the same time, it is concluded that difficulties in the development of international relations of Soviet scientists, in addition to ideological reasons, were due to low management efficiency and bureaucratization.

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