Este artículo propone una lectura retrospectiva de la crítica dialéctica de Fredric Jameson a partir de uno de sus últimos libros, Allegory and Ideology (2019). En esta obra el teórico norteamericano ...revisa las ideas fundamentales de su método de crítica de la ideología tomando como concepto heurístico y aplicativo central la noción de “alegoría”, entendida como tropo constructivo de muy larga tradición y como nueva categoría interpretativa totalizadora. Por un lado, se trata de considerar la validez y el alcance de la hermenéutica marxista jamesoniana para el análisis ideológico de la literatura y otras formaciones culturales, y, por otro, de ponderar la productividad de sus estrategias de lectura neoalegórica para la postulación de un “materialismo figural” que pueda dar respuesta a las contradicciones y las crisis recurrentes de la cultura moderna y sus derivas últimas.
Štúdia ukazuje prepojenia klasickej rétoriky s teóriou rečových aktov Johna Austina a Johna Searla, so zreteľom na žánrový a interpretačný výskum príležitostných diel staršej slovenskej literatúry. ...Nadväzuje na tradičné ciele rétoriky a úlohy rečníka (v duchu Aristotela, Marca Fabia Quintiliana a Marca Tullia Cicerona), aj na poznatky o súvislostiach medzi aristotelovskými druhmi reči a typológiou ilokučných aktov, na ktoré upozorňujú Walter H. Beale, Emmanuelle Danblon a Cristina Pepe. Aplikuje vybrané nástroje, ktoré pri výskume pragmatiky literárnej komunikácie navrhol Teun A. van Dijk: vo vzťahu k funkčnému synkretizmu staršej literatúry pojem nepriameho rečového aktu, vo vzťahu ku komunikačnej funkcii literárneho textu ako celku pojem makrorečového aktu. Výsledkom štúdie je pokus o vymedzenie príležitostných literárnych diel na základe ich pragmatickej funkcie a charakteristika vybraných príležitostných žánrov (s oporou o staršiu poetickú a rétorickú teóriu). V nadväznosti na práce historika myslenia Quentina Skinnera načrtáva využitie východísk teórie rečových aktov pri interpretácii príležitostných pamiatok staršej slovenskej literatúry.
De tonende sekunder Nesmann-Aas, Inga Marie
Studia musicologica Norvegica,
11/2022, Letnik:
48, Številka:
1
Journal Article
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Gjennom refleksjon og perspektiv på egen praksis undersøker artikkelen hva embodiment som metode og innfallsvinkel i samhandling med tekstlig og musikalsk materiale av Bjørnson og Grieg over tid kan ...gjøre med meg som utøver og min interaksjon med og formidling av Fire Digte fra Fiskerjenten. Gjennom samhandling med og analyse av et variert utvalg kildemateriale knyttet til Bjørnsons roman og Griegs komposisjoner beskrives innsikter og erfaringer som jeg som utøver bærer med meg, og som gjør noe med meg som igjen er til stede i og gjennom meg i formidlingen av materialet, i et embodiment-perspektiv. Den selvstendige, sensitive, empatiske og kroppslig funderte kunstneriske formidlingen står sentralt.
In diesem Open-Access-Buch widmet sich Anna Maria Olivari der Forschungslücke der Vertonung von Thomas Manns Doktor Faustus. Sie untersucht ein Korpus von 13 unterschiedlichen Kompositionen aus dem ...Bereich der Neuen Musik (Opern, Monodramen, instrumentale Werke), die zwischen 1952 und 2011 entstanden sind und bisher wenig bis gar nicht rezipiert wurden. Thomas Manns Doktor Faustus ist in vielerlei Hinsicht ein breit erforschtes Werk, jedoch nicht in Bezug auf seine Vertonungen. Der Vergleich zwischen Roman und Komposition ist im Forschungsparadigma der Intermedialität angesiedelt und ermöglicht die Rekonstruktion der kompositorischen Rezeptionsgeschichte von Doktor Faustus. Die Rückkopplungseffekte zwischen Text und Musik lassen Thomas Manns Roman neu lesen.
The paper offers a qualified endorsement of Terry Eagleton’s striking claim that “a work’s moral outlook … may be secreted as much in its form as its content”. A number of points are raised in ...defence of the claim: an argument for the inseparability, under certain conditions, of form and content in a literary work; an idea of moral content, not as derived moral principle, but as inward-facing interpretation grounded in an ethical vocabulary; the possibility of internal and external perspectives on fictional characters; and an emphasis on emotions expressed in, rather than caused by, narrative. Three literary examples are explored, to show how vocabulary, syntax, implicature, and tone, contribute to the emergence of moral salience. A consequence drawn is that the ethical stance readers take to a scene or incident is partially shaped by the narrative modes of its presentation. The overall perspective of the paper is that of aesthetic autonomism: the view that the aesthetic value of a work of literature is distinct from, and not reducible to, any instrumental moral values (positive or negative) attributed to the work.
In order to talk and think sensibly about the various ways of engaging with texts, we need to distinguish them by reference to relevant differences and commonalities between them. This paper focusses ...on the conceptual relations between three ways of engaging with texts that figure prominently in literary scholarship: textual interpretation, literary interpretation, and aesthetic appreciation. Rather than giving a full analysis of these three terms, this paper has two specific concerns. First, it is argued that literary interpretation is best understood as a species of textual interpretation. Second, and relatedly, some theorists argue that the discriminating feature of literary interpretation is its aim of aesthetic appreciation. Aesthetic appreciation may refer to either (i) a judgement about or (ii) an experience of or (iii) an attempt to identify and evaluate the aesthetic properties of something. The idea that appreciative judgements or experiences are the main aims of literary interpretation should not lead to a conceptual confusion of literary interpretation with aesthetic evaluation (or appreciative acts), even if there is a sense in which the idea is correct. Aesthetic appreciation is, at most, a secondary aim of literary interpretation and may function as a motivation to engage in literary interpretation. This aligns well with the idea that aesthetic appreciation has a significance independent from interpretation. Their conceptual distinction notwithstanding, it is argued that there are interesting evidential relations between (literary) interpretation and aesthetic appreciation. These relations of support, evidence, or justification may go either way.
This book examines the place of literature in the Reformation, considering both how arguments about biblical meaning and literary interpretation influenced the new theology, and how developments in ...theology in turn influenced literary practices. Part One focuses on Northern Europe, reconsidering the relationship between Renaissance humanism (especially Erasmus) and religious ideas (especially Luther). Parts Two and Three examine Tudor and early Stuart England. Part Two describes the rise of vernacular theology and Protestant culture in relation to fundamental changes in the understanding of the English language. Part Three studies English religious poetry (including Donne, Herbert, and, in an Epilogue, Milton) in the wake of these changes. Bringing together genres and styles of writing that are normally kept apart (poems, sermons, treatises, commentaries), the author offers a re-evaluation of the literary production of this intensely verbal and controversial period.
Pesem ?Teorija strun? kot prvo nagovarja odnos med poezijo in njenim tolmačenjem (na ozadju teorije, fizike, psihoanalize ali celo filozofije). Včlanku vpeljem nekaj konceptov, ki se osredotočijo na ...?madež?pesmi. Tega sproži jalovost iskanjapomena konvencionalne interpretacije pesmi. Da bi lahkoposegel onkraj uveljavljenega načina tolmačenja, se naslonim na vprašanje notranjega zdaj-časa in nezavednega pesmi. Kako se zgodi pesem? Kdaj pride do njene uresničitve? Interpretativna aktualizacijapesmi mora izbrisati kakršnokoli konkretno individualnost. To, kar velja za nezavedno v Lacanovi psihoanalizi, velja tudi za poezijo: delovanje nezavednega se pokaže v njeni deformaciji, ne pa v vsebini. Torej vsaka subjektivnost (lirični subjekt), ki se ohranja, usmeri pozornost bralca na tako deformacijo, na madež, na krik vpesmi. Kako se madež oblikuje tako, da gre za pesem (jalove ljubezni, melanholije), ne pa na primer za fizikalno teorijo ali za mistično kontemplacijo božanske luči? Pesem ?Teorija strun? vibrira med okruški sanj in potlačenim, ?zapackanim?spominom travmatičnega jedra, kipoganjaponavljanje nelagodja tesnobe in stresa. Upam, da bo moje interpretativno ukvarjanjes pesmijo ?Teorija strun? izzvalo vznik eksistencialne Stvari, ki se nam bo ponudila kot dar v neznosnem izmikanju. In prav toje tisto, kar pripisujemo učinku poetične diskurzivnosti.
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