Literature and Revolution: A Critical Study of the Writer and Communism in the Twentieth Century

1971 ◽  
Vol 15 (1) ◽  
pp. 78
Author(s):  
Simon Karlinsky ◽  
Jürgen Rühle ◽  
Jean Steinberg ◽  
Jurgen Ruhle
Keyword(s):  
Twentieth Century ◽  
Critical Study

Native Sons: A Critical Study of Twentieth-Century Negro American Authors.

1969 ◽  
Vol 41 (1) ◽  
pp. 133
Author(s):  
Darwin T. Turner ◽  
Edward Margolies
Keyword(s):  
Twentieth Century ◽  
Critical Study ◽  
American Authors

Introduction

2021 ◽  
pp. 1-6
Author(s):  
John Skorupski
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Early Modern ◽  
French Revolution ◽  
Critical Study ◽  
The Political ◽  
Ethical Thought ◽  
East European ◽  
The Sixties ◽  
Late Modern

This is a critical study of late modern ethical thought in Europe, from the French Revolution to the advent of modernism. I shall take it that ‘late modern’ ethics starts with two revolutions: the political revolution in France and the philosophical revolution of Kant. The contrast is with ‘early modern’. Another contrast is with ‘modernism’, which I shall take to refer to trends in culture, philosophy, and politics that developed in the latter decades of the nineteenth century, and lasted into the twentieth century—perhaps to the sixties, or even to the collapse of East European socialism in the eighties....

Emerson’s Decomposition: Parnassus

2013 ◽  
Vol 67 (4) ◽  
pp. 520-545
Author(s):  
Nikhil Bilwakesh
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Theoretical Work ◽  
Critical Value ◽  
Compositional Style ◽  
Critical Study ◽  
A Current

This essay offers a new reading of Emerson’s late redactorial and critical work that evinces a correspondence between bodily and literary decomposition. I argue that the critical value of Parnassus (1874) lies precisely in its demonstration of Emerson’s principles of composition, in particular a late compositional style that I define as Emerson’s “decomposition.” The very difficulty in “authorizing” such a text makes us attend to the role of citation and quotation in Emerson’s work, in larger proprietary questions of nineteenth-century authorship, in the twentieth-century discourse of the “death and rebirth” of the author, and in a current age when digital dissemination threatens copyright value and challenges writers to reconfigure conceptions of creative composition in formally innovative works. A revised formal appraisal of Parnassus, in its classificatory, literary, and biological contexts, is not only instrumental for Emerson scholars, but can also help bridge the ample body of theoretical work on the question of the author with the undertheorized critical study of the anthology as a genre.

Suffragist Artists in Partnership

2018 ◽  
Author(s):  
Lucy Ella Rose
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Gender Equality ◽  
Critical Study ◽  
Archival Material ◽  
Gender Binary ◽  
Theoretical Perspectives ◽  
Female Figures ◽  
Nuanced Understanding ◽  
The Relationship

This book explores the interconnected creative partnerships of the Wattses and the De Morgans: Victorian artists, writers and suffragists. The couples were close friends and collaborators. The study demonstrates how Mary and George Watts, and Evelyn and William De Morgan worked, individually and together, to support greater gender equality and female liberation in the nineteenth century. The author traces their relationship to early and more recent feminism, reclaiming them as influential early feminists and reading their works from twentieth-century theoretical perspectives. By focusing on neglected female figures in creative partnerships, the book challenges longstanding perceptions of them as the subordinate wives of famous Victorian artists and of their marriages as representative of the traditional gender binary. This is also the first academic critical study of Mary Watts’s recently published diaries, Evelyn De Morgan’s unpublished writings, and other previously unexplored archival material by the Wattses and the De Morgans. It offers a more nuanced understanding of power relations between the sexes as well as of the relationship between feminism, literature and art in the period.

Funny Girls

2018 ◽  
Author(s):  
Michelle Ann Abate
Keyword(s):  
Twentieth Century ◽  
Material Culture ◽  
The United States ◽  
Young Female ◽  
Critical Study ◽  
Political Issues ◽  
Female Protagonists ◽  
Wide Range ◽  
And Gender ◽  
National Attitudes

Funny Girls: Guffaws, Guts, and Gender in Classic American Comics is the first full-length critical study to examine the important cadre of young female protagonists that permeated US newspapers strips and comics books during the first half of the twentieth century.Many of the earliest, most successful, and most influential titles from this era featured elementary-aged girls as their central characters, such as Little Orphan Annie, Nancy, and Little Lulu. Far from embodying a now-forgotten facet of twentieth century print culture, these figures remain icons ofUS popular and material culture. Recognizing the cadre of Funny Girls who played such a significant role in the popular appeal and commercial success of American comics during the first half of the twentieth century challenges longstanding perceptions about the gender dynamics operating during this era.In addition, they provide information about a wide range of socio-political issues, including the popular perceptions about children, mainstream representations of girlhood, and changing national attitudes regarding youth and youth culture.Finally, but just as importantly, strips like Little Lulu, Little Orphan Annie, and Nancy also shed light on another major phenomenon within comics:branding, licensing, and merchandising. In discussing these are other issues, Funny Girls gives much needed attention to an influential, but long neglected, aspect of comics history in the United States.

Structure and Editing in the Homiletic Midrashim

AJS Review ◽  
1981 ◽  
Vol 6 ◽  
pp. 1-20 ◽  
Author(s):  
Norman J. Cohen
Keyword(s):  
Twentieth Century ◽  
Critical Study ◽  
Early Twentieth Century ◽  
The Individual ◽  
Interpretative Comments

Since Leopold Zunz's comments regarding the highly artistic form of the classic rabbinic homily, those involved in the critical study of midrash have concerned themselves with the structure of the derashah. Some nineteenth and early twentieth century scholars recognized that the individual pisqa'ot and parashiyyot of the homiletic midrashim contain a series of petiḥtot (sermonic proems), followed by interpretative comments upon the first few verses of the pericope texts. In addition, research into homiletic forms such as the peroration led other scholars closer to an understanding of the structural unity of the rabbinic homily.

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