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Michael Verancius greatly criticized the historical work of Valentinus Polidamus, one of his contemporaries in his satirical elegy in 1536. He did so in a rather unique way. The main aim of the present paper is to outline the classical allusions of this elegy to a great extent (primarily the parallels with Volusius and Choerilus). Moreover, Polyhymnia and Clio appear in a quite unusual description in his elegy. Although the background of his criticism (namely that Polidamus was an untalented historian) might also have been valid, it is not outlined here in details since it would be a separate topic.
A XI–XII. századi, ismeretlen szerzőtől származó Timarión című szatíra főhőse egy utazás során tetszhalott állapotba kerül, két démon erőszakkal az alvilágba kényszeríti, ahol egy bírósági tárgyaláson bebizonyítja, hogy még nem halt meg, úgyhogy visszatérhet az élők közé. Jelen tanulmány célja, hogy bemutassa és értelmezze Kónstantinos Akropolités kétszáz évvel később keletkezett rövid levelét, melyben a szerző éles kritika tárgyává teszi a Timariónt, anélkül hogy kifogásait pontosan kifejtené.
Abstract
Beginning with a review of ecocriticism’s scholarly and activist origins and development through the related fields of eco-composition, ecofeminist literary criticism, and environmental justice literary studies, this essay discusses children’s environmental literature from the intersecting standpoints of animal studies, environmental justice, and ecofeminist literary criticism. From that intersectional standpoint, the essay raises three central questions for examining children’s environmental literature, and offers six boundary conditions for an ecopedagogy of children’s environmental literature.
Who protects children in the Roman religion? From whom?
Some reflections concerning Carna, Ino, and Thesan, in connection with Mater Matuta
calendar from the 1st of June to the 11th of June was full of details which might allude to one another, with the aim of underlining the importance of human and divine kourotrophia by using the concept of intertext in literary criticism
Sensibility is a category of literary criticism, which was associated with the psychology of characters, and reproduced the transience of their inner life. It acquired signs and characteristics of personality type in the general typology of
Although the 20th-century Slavic literary criticism provided several variants of methods, the most specific and clear-cut principles were established in Vyach. Ivanov’s dissertation Dionysus and Pre-Dionysianism . Ivanov’s four-dimensional hermeneutics developed the traditions of Schleiermacher’s and Boeck’s philological hermeneutics, complemented by the results of phenomenology and the study of mythological and ritual roots of text. It found its followers in Mikhail Bakhtin and to some extent in the school he generated. It was also promoted by Toporov’s influential methodology, which was close to it in principles and reflected both in Russia and outside its borders.
. Meiji bungaku zenshuu 79: Meiji geijutsu – bungakuronshuu [Meiji period literature anthology 79: Meiji art – literary criticism anthology], Tokyo 1975 . 11. Mabuchi , Akiko
many of the texts of Hungarian literary criticism in Slovakia. The possible levels of transculturalism in the Slovakian Hungarian reception of these writings are the following: Transculturalism as
Summary In this paper I read Géza Gárdonyi's novel, The Eclipse of the Crescent Moon, as a narrative of the Hungarian nation. After surveying the reception of the novel in the past century, pointing out the difficulties Hungarian literary criticism was facing when dealing with The Eclipse, I proceed to read the novel itself as a text that depicts an “imagined community' of Hungarians. I argue that while the Hungarian Self is imagined as an innocent child in the novel, the Turkish Other becomes depicted as a cunning animal dominated by primary instincts. I read The Eclipse as the story of expulsion from Paradise, invaded by the Turkish snake, focusing on the different paths the novel's main characters, Gergely and Éva, take, with the aim of analysing the feminine and masculine aspects of the nation imagined by the novel through their diverging stories.
Abstract
The expulsion of the notion of literary value from literary theory in late modernity belies the connection between morality and art, morality and beauty, morality and aesthetic judgement that has been formative and transformative of aesthetic theory in the wake of reflexive modernity. In this paper, I would like to trace the formations and transformations wrought in the relations between notions of taste, morality, and aesthetic judgement. And I will attempt to show how literary value is integrally bound up with aesthetic judgement and critique, not only at the inception of the practice of literary criticism in the eighteenth century, but at the point of its expulsion in the mid-twentieth century. The expulsion of literary and artistic value, I will argue, coincides with the inclusion of the negation of art in the definition of the modernist work of art itself, which thereby becomes assimilated to philosophical inquiry.
