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In this paper I discuss Housman’s principle of textual criticism that apographs are of no importance in the establishment of a text, and suggest reasons why this should not be a universal rule, with reference to the text of Isaios. Housman was emulated in his notoriously acerbic criticism of other scholars by William Wyse, the major editor of Isaios, and I assess the contributions of three scholars who, exceptionally, met with Housman’s approval and made contributions to the text of Isaios.

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Abstract  

In the present era of globalization, discussing the relations between man and nature as well as the environment has become a cutting-edge theoretical topic for almost all humanities scholars. In this respect, the rise of eco-criticism in the English-speaking world takes the initiative of intervening from a literary critical perspective. Partly due to introduction and translation from the West, and partly from China’s own ecological resources, eco-criticism has also risen in China and quickly flourished. Actually, the relation between man and nature has long been a theme not only in Western literature but also in Chinese literature, and Tao Yuanming’s creation of the “Peach Blossom Spring” as a Chinese version of Utopia serves as a particularly notable example. The present article, after some critical review and reflection of the positive aspects of eco-criticism, tries to deconstruct from a postmodern eco-critical perspective the exclusiveness of the “people-oriented” ethics dominated in current Chinese ideology, and at the same time, questions the nature-earth-centric mode of thinking advocated by the eco-critics. To the author, it is necessary to construct a sort of postmodern environmental ethics characterized by harmoniousness with differences reserved in the present era rather than raise another binary opposition between man and nature.

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Yugoslav composer Rudolf Bruči is known on the international scene primarily as the author of Sinfonia Lesta, a composition winning the first prize in 1965 at the Queen Elizabeth Competition in Belgium. On a national level, Bruči was a powerful social entity, not only in respect of his creative freedom. As a member of the League of Communists, Bruči spent a lifetime as an official in social organizations and cultural institutions, thus dictating the rhythm of musical life of Novi Sad and the Province of Vojvodina, until the collapse of Socialism when he was suddenly forgotten. The developmental line of Bruči’s oeuvre – leading from Zhdanovian national classicism, through the adoption of elements of the European avant-garde, to the reaffirmation of a national/regional idiom in the mid-1970s – largely corresponds to the general tendencies of postwar art music in the socialist countries of Eastern and South-Eastern Europe. Bruči broke with the European avant-garde models not only in his creative practice, but he also reasoned it in the articles “The Composers’ Role in the Modern Development of Self-governing Socialist Society,” “Statements of Yugoslav Music Forum Composers’ Workgroup,” and “Manifesto of the ‘Third Avant- Garde’,” where he based his discourse on conformism, lack of communication and dehumanization of avant-garde, and in particular on Yugoslav ideological projects, such as self-management, non-alignment, and deprovincialization. The article analyzes the context in which Bruči’s creative transformation during the 1970s was expressed as the criticism of the Eurocentric cultural model, as well as the suspicion towards the imperative of modernization in a world obsessed with technological advances.

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be superior to AFM. Critical attitudes What stood out in the Vanclay-set at first, was the combination of the vehemence of allegations, fierce criticism of the “incumbent” WoS and JCR databases, the impact factor measures

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The article deals with Aquinas' relation to Avempace's theory of intellect, especially with his criticism of the conception of agent intellect as presented by Avempace. The author examines the parts of Aquinas' works where he rejects Avempace's theory of coniunctio as a union with the divine realm and Avempace's identification of imagination with intellect. The criticism is founded on the background of Aquinas' discussion with Averroism. The second part of the article deals with Aquinas' criticism of Avempace's theory of speculative sciences, which consist of he problem whether the ultimate happiness of man is to understand the separate substances. Aquinas criticizes the theory according to which through the pursuit of the speculative sciences man comes to the understanding of separate substances from the sensible things. Aquinas is very sceptical of this opinion and he strictly follows Aristotle's emphasis on senses and phantasms. The only things a human being can know in the speculative sciences are those that are grounded within the range of naturally known principles. The author shows the metaphysical presuppositions of Aquinas and Avempace which are momentous for the understanding of the different interpretations of Aristotle.

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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.

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Essay in Literary-Historical Criticism. Russian Literature 15 (1984): 223–242. Józsa 2011 = Józsa György Zoltán: Русская литература sub specie mortis. Набоковская интерпретация творчества Гоголя. Часть 1-я. Slavica 39

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Scientometrics
Authors: Fiorenzo Franceschini and Domenico Maisano

Abstract

Although composition of bibliometric indicators appears to be desirable, in many cases it may be misleading. After a brief introduction on the properties of scales of measurement, the attention of this communication is focused on a recent composite indicator, the hg-index, suggested by Alonso et al. (Scientometrics 82(2):391–400, ). Specifically, hg-index has three major criticalities: (1) the hg scale is the result of a composition of the h- and g-indices, which are defined both on ordinal scales, (2) the equivalence classes of hg are questionable and the substitution rate between h and g may arbitrarily change depending on the specific h and g values, (3) the apparent increase in granularity of hg, with respect to h and g, is illusory and misleading. Argument is supported by several examples.

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