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This essay argues that the new field of Darwinian (or biocultural) literary criticism must attend to sociocultural change as well as evolved predispositions in the assessment of literary merit (aesthetic value). Because contemporaneous sociocultural factors constitute a major part of the environment of literary production, they have significant bearing on the perceived aesthetic value of any given work of literature. In particular, the development of a complex literary culture since the industrial revolution enables manipulations of literary forms not possible in oral culture. Focusing specifically on the example of postmodern antinarrative and the Peter Carey (1997) novel Jack Maggs, a retelling of Charles Dickens' (1860/1999) Great Expectations, the author suggests that subversion of linear story may have culturally contingent epistemic, and therefore perhaps aesthetic, value.
Abstract
Since the end of the 1980s, when the term “postcolonial” first landed mainland China, postcolonialism or postcolonial theory has been vigorously traveling in China for nearly twenty years. From 1995 to 1999, postcolonial criticism prospered and aroused several consequential issues such as the problem of “aphasia” of Chinese literary theories and its reconstruction, “Postism” and its conservatism, cultural self-colonization phenomena, “the third world culture,” nationalism and the so-called “Chineseness” and so on. The articles and books published during the period witness the highest achievement of postcolonial criticism in China. But the hasty traveling of postcolonialism in China has elicited or exposed many serious problems in the circles of literary criticism and literary theories. Unhealthy academic ecology in China combined with the misappropriation of the Western source texts, provoking heated debates over nationalism, “Chineseness,” “aphasia” and intellectual responsibility. Through analyzing these complicated issues, the author intends to present his own understanding of the traveling and metamorphosis of postcolonial theories in the Chinese context, and to offer his critical reflections on the problem of how to borrow theories from abroad.
The letter of Marsilio Ficino was published under the title Dubitatio utrum opera philosophica regantur fato an providentia and summarised his tenets of Platonist-Humanist philosophy as it were. Based on his book of letters, this writing is part of a correspondence in which Ficino responds to Ioannes Pannonius of Buda, who, in his letter to Ficino — also published by the book of letters — criticised Ficino’s views. Literary criticism has been trying to identify the persona of Ioannes Pannonius for long. In the highly influential study of Florio Bánfi, Joannes de Varadino (Giovanni Unghero, Giovanni Varadino), that is, John of Várad, Augustine monk is identified as the supposed person. Bánfi’s views were reconsidered by Klára Pajorin in 1999, who reckoned that Ioannes Pannonius is John Vitéz the Younger. The author of the present study wishes to enhance the idea of Valery Rees (1999) who thinks that Ioannes Pannonius was created as a fictitious character by Ficino, and thus, the author reckons that the letter came in handy primarily against Savonarola and his followers because the correspondent from Buda raises those very topics on the bases of which Ficino can elaborate the sole decorous model of behaviour, the path that should be followed by the fictitious addressee as well.
In this article I offer an overview of the ways in which the term realism has been understood and used in Hungarian literary criticism, from the introduction of the term into Hungarian discourses in the middle of the 19th century to the post-1989 period, when the term had to grapple with the legacy of its appropriation by the Socialist regime. I examine three specific junctures in the critical trajectory of Realism: the introduction of the term in the 1850s, the uses and abuses of the term by Marxist ideologues, and finally the aversion towards the term that emerged in the post-Socialist era. In addition to examining pivotal moments in the history of this critical concept in Hungarian literary discourse, my inquiry also offers a critical perspective from which to consider an enduring anxiety concerning the achievements, past and future, of Hungarian literary culture, an anxiety that finds expression in a symptomatic concern with the ways in which tendencies in Hungarian culture do or do not relate to cultural developments outside of Hungary.
Abstract
In the American academic tradition, the freak show as a research topic appeared in the late 1970s, focusing on othered bodies and popular culture, considered revolutionary at the time. This article looks at the history of the discourses staged otherness provoked in the American context. While it was launched together with other discussions of othering – such as ‘the ethnic other’, which eventually led to the field of postcolonial studies – otherness based on physical difference led to discussions that established a perception of the freak show as an American phenomenon. Scholars like Leslie Fiedler used the othered body to cope with personal crisis, while Edward Said criticized Western European and American forms of colonial thinking. However, physical otherness seduced academics to argue along the dichotomies of self and other to eventually position the self. This article looks at this development historically, involving psychoanalysis, postcolonial studies, literary criticism, and popular culture, to question the American element of the freak show and encourage a rewriting of its cultural significance.
. 124 – 125 . Jakštas Adomas : J . Maironis . Jaunoji Lietuva . In: Korsakas Kostas , Doveika Kostas (red.): Lietuvių literatūros kritika [Lithuanian Literary Criticism] I. 1547–1917 . Vilnius : Vaga , 1971 . 508 – 510 . Jokai Maurus
A tanulmány a római kánonképződés folyamatának bemutatására tesz kísérletet három szöveghely alapján. A kérdés vizsgálatának megkerülhetetlen kiindulópontja Cicero Brutusa, amely az első próbálkozás a római irodalmi teljesítmény összegzésére és a görögökéhez viszonyított értékelésére. Ennek az előzménynek a kontextusában vizsgálom az id. Plinius Naturalis Historiajának (7, 107–117) és Quintilianus Institutiojának (10, 1, 46–131; 12, 10, 1–9) a görög és a római irodalom történetét áttekintő fejezeteit: az alkalmazott módszereket (irodalmi komparatisztika, vizuális analógia), a narratív egységek struktúráját szervező szempontokat (kronológia, korszakolás: görög és római, régi és új, műfajok szerinti csoportosítás), és igen fontos szempontként a szövegek terminológiáját. Mindezek eredményeként kibontakozik a római kánon alakulástörténete, mely a köztársaság korának utolsó századában vette kezdetét és a Flavius-korban teljesedett ki, s amely a világot birtokba vevő Imperium Romanum kulturális identitásának egyik irodalmi formájaként értelmezhető.
Résumé
Les articles critiques de Huysmans publiés dans la presse du XIXe siècle sont divisés en deux catégories. Certains sont des fragments biographiques ou des portraits intimes. Ainsi les articles sur Léon Hennique paru dans Les Hommes d'aujourd'hui ou sur « Emile Zola et L'Assommoir » publié dans L'Artiste de Bruxelles sont des essais biographiques sur ces auteurs. Huysmans pratique, dans l'étude de ces écrivains, une forme de critique qui rappelle la méthode de Sainte-Beuve parce que les œuvres sont lues à la lumière de l'homme. Les autres articles critiques s’interessent directement aux oeuvres. D’un côté, Huysmans analyse les composantes de l'espace, du caractère et du style, de l'autre il fait une réflexion sur l'art de la critique. Dans les articles sur A mi-côte de Jacques Esquirol ou sur Marcelle de Maurice du Seigneur, il étudie la construction du roman ou du poème. Dans les articles relatifs aux textes critiques de Barbey d'Aurevilly et d’Emile Mâle, il redéfinit l'art de la critique littéraire, en mettant l'accent sur la lecture impressionniste des oeuvres. L’approche critique de Huysmans est proche de celle de Baudelaire car elle se fonde sur une critique subjective faite par les artistes. Avant le Contre Sainte-Beuve de Proust, Huysmans annonce la fin de la critique biographique.
. «Образы» Лермонтова в статьях В. Г. Белинского и Вл. Со-ловьева . In: Lermontov in 21st-century Literary Criticism / Лермонтов в литературной критике ХХI века . Budapest, 2014 . 42 – 49 . Дуккон 2016
. Meiji bungaku zenshuu 79: Meiji geijutsu – bungakuronshuu [Meiji period literature anthology 79: Meiji art – literary criticism anthology], Tokyo 1975 . 11. Mabuchi , Akiko
