scholarly journals Benjamin e uma nova formação a partir de uma nova forma de ensino da História da Literatura / Benjamin and a New Formation Through a New Form of Teaching Literary History

2020 ◽  
Vol 15 (2) ◽  
pp. 183
Author(s):  
Rafael Guimarães Tavares Silva
Keyword(s):  
Literary Criticism ◽  
Literary Theory ◽  
Literary History ◽  
Teaching Practices ◽  
Walter Benjamin ◽  
Critical Position ◽  
The Past ◽  
History Of ◽  
Intellectual Production ◽  
History Of Literature

Resumo: Buscando situar o contexto alemão do final do séc. XIX e início do séc. XX, no tocante às práticas de ensino e, mais especificamente, do ensino de literatura, o presente artigo oferece considerações sobre a forma como Walter Benjamin se posiciona nesse debate. Depois de abordar de forma mais geral a produção desse arguto pensador da cultura de seu tempo, a importância fundamental de seu texto História da literatura e ciência da literatura [Literaturgeschichte und Literaturwissenschaft], de 1931, assume o primeiro plano da argumentação e oferece o material para que se sugira a radicalidade do projeto benjaminiano. Detectando uma crise cultural profunda em sua época, o estudioso sugere que um posicionamento crítico, apto a articular o passado e o presente, por meio de um estudo envolvendo História da Literatura e Crítica Literária, seria a única forma de potencializar o estudo das Letras, de modo a converter a Literatura em órganon capaz de atuar diretamente sobre a própria História.Palavras-chave: Walter Benjamin; teoria literária; crítica literária; história literária; educação.Abstract: Seeking to situate the teaching practices and especially literary teaching practices in the German context of the end of the XIXth century and beginning of the XXth, this article offers considerations on how Walter Benjamin takes a position in this debate. After a more general approach to the intellectual production of this argute thinker of his own culture and time, the fundamental importance of his text History of literature and science of literature [Literaturgeschichte und Literaturwissenschaft], from 1931, takes the foreground of the argument and offers material to suggest the radicalness of Benjamin’s project. Detecting a deep cultural crisis in his time, he suggests that a critical position, capable of articulating the past and the present, through a study involving History of Literature and Literary Criticism, would be the only way to strengthen the study of Letters, in order to transform Literature into an organon capable of acting directly on History itself.Keywords: Walter Benjamin; literary theory; literary criticism; literary history; education.

Corruption and Redemption: The Legend of Valluvar and Tamil Literary History

2000 ◽  
Vol 34 (2) ◽  
pp. 449-482 ◽  
Author(s):  
Stuart Blackburn
Keyword(s):  
Nineteenth Century ◽  
Literary History ◽  
Language Ideologies ◽  
Cultural Identities ◽  
Colonial India ◽  
Literary Historiography ◽  
The Past ◽  
History Of ◽  
Literary Histories ◽  
History Of Literature

This [the Valluvar legend] is one of the traditions which are so repugnant to inveterate popular prejudice that they appear too strange for fiction, and are probably founded on fact. (Robert Caldwell 1875:132).If we now recognize that literary history is more than a history of literature, it is perhaps less widely accepted that the writing of literary history is an important subject for literary historiography. Yet literary histories are a rich source for understanding local conceptions of both history and literature. More accessible than archaeology, more tangible than ethnology, literary histories are culturally constructed narratives in which the past is reimagined in the light of contemporary concerns. Certainly in nineteenth-century India, the focus of this essay, literary history was seized upon as evidence to be advanced in the major debates of the time; cultural identities, language ideologies, civilization hierarchies and nationalism were all asserted and challenged through literary histories in colonial India. Asserted and challenged by Europeans, as well as Indians.

scholarly journals Perkembangan Teori Sastra (Suatu Pengantar)

2020 ◽  
Author(s):  
Felta Lafamane
Keyword(s):  
Literary Criticism ◽  
Intellectual History ◽  
Literary Theory ◽  
Literary History ◽  
Literary Studies ◽  
Literary Reading ◽  
Philosophical Thinking ◽  
Human Thought ◽  
History Of ◽  
Practical Nature

AbstractNormatively, literary studies are divided into several fields, namely literary theory, literary history, literary criticism, comparative literature and literary studies. Literary theory studies people's views of literature. Literary history seeks to compile and study literary works as part of the process of intellectual history in one society. The history of literary theory can be seen as part of philosophical thinking because the history of literary theory itself is the same as the history of human thought towards art or literary objects which emphasize the more practical nature of the translation of concepts. Literary theory itself can essentially be equated with the science of beauty or aesthetics. Science and theory are certainly one different thing. With such an assumption, writing the history of literary theory is the same as writing aesthetic history in the field of literary arts. However, the history of the theory needs to be known and understood so that there are no mistakes in thinking about these two things. Literary theory itself has various meanings along with the paradigm it carries. Literary theory is defined as a set of ideas and methods used to practice literary reading. Literary theory is also interpreted as a way or step to understand literature. The views in literary theory also experience changes along with the development of human thinking.Keyword: development, literary theory, history, literature

scholarly journals Kazimiera Iłłakowiczówna mniej więcej znana

2018 ◽  
pp. 75-94
Author(s):  
Lucyna Marzec
Keyword(s):  
Literary Criticism ◽  
Literary Studies ◽  
Religious Poetry ◽  
The Past ◽  
Feminist Literary Criticism ◽  
History Of ◽  
The New Woman ◽  
History Of Literature ◽  
Government Institution ◽  
Unusual Type

The article is the analysis of the place of Kazimiera Iłłakowiczówna in contemporary literary discourse. The author of the article claims – using Pierre Bayard’s theory – that the poetess is known “more or less”: she is remembered as someone who got prizes and recognition but at the same time she is impossible to read nowadays. There is political ambiguity and antiquity in her texts that keep her in the past. Marzec points at four areas of literary studies, where Iłłakowiczówna is still present: 1. Poetics: Iłłakowiczówna uses an original and unusual type of the Polish tonic verse. The author of this article analyses it using tools of psychoanalysis. 2. Religious discourse: Iłłakowicz.wna is interpreted as the author of religious poetry but Marzec argues with such interpretations. 3. Post-dependence studies: Iłłakowiczówna has not been analysed in terms of post-dependence studies yet but she is mentioned in the Polish borderlines discourse. 4. Feminist literary criticism: Iłłakowiczówna used to be studied as the author of androgynous poetry, but Marzec points out other motifs such as miscarriage, infanticide or problems of the new woman, like work at government institution, contestation of vitalism and bureaucracy. The aimof this article is to show that writing of Kazimiera Iłłakowiczówna needs to be read in terms of the history of literature which is devoid of evaluation and judging. Such analysis means going back in terms of modern literary studies which have undergone multiple turns that changed the tools accessible to contemporary critics.

scholarly journals Semiotization of the past in the Lermontov studies of B.M. Eikhenbaum in the 1930s – early 1940s

2021 ◽  
Vol 1 (2) ◽  
pp. 65-74
Author(s):  
Kristina V. Sarycheva
Keyword(s):  
Literary Criticism ◽  
Point Of View ◽  
Semiotic System ◽  
Official Discourse ◽  
The Past ◽  
History Of ◽  
Literature History ◽  
Soviet Ideology ◽  
History Of Literature ◽  
Historical Past

The research is based on the concept of the historical process as a semiotic system, formulated by B.A. Uspenskii. The article aims to analyse within the framework of this concept the historical and literary works of B.M. Eikhenbaum of the 1930s 1940s, dedicated to the meeting of Lermontov and Belinsky in the prison. Some of the papers discussed here have not been previously studied. The fact that Eikhenbaum frequently referred to that episode and mentioned it in different papers let us assume that it was significant not only from the literary and historical point of view, but it also contained unique significance for the researcher. The article extends the observations made by E.A. Toddes regarding the implicit projection of contemporary events into the historical past that helped Eikhenbaum to overcome prescriptions of the Soviet ideology and literary criticism. The evolution of the history concept in papers of Eikhenbaum was analyzed and the elements of the language, resembling the contemporary epoch, were demonstrated. As a result, the author comes to the conclusion that the historic past of the Lermontov studies, carried out by Eikheinbaum, is the double coded semiotic system simultaneously, expressing the literary and historical facts, as well as following the official discourse and containing the unofficial or individual discourse regarding the contemporaneity.Key words: Eikheinbaum, Lermontov, Belinsky, formalism, Soviet literary criticism, history of literature, history, modernity, semiotic system.

scholarly journals DAM ON THE GREAT RUSSIAN SEA (Contribution to the interpretation of the Review of the History of Serbian Literature by A. N. Pipin)

2021 ◽  
Vol XII (35) ◽  
pp. 117-136
Author(s):  
Ana M. Mumovic
Keyword(s):  
Literary Criticism ◽  
Literary History ◽  
National Development ◽  
Main Idea ◽  
Extensive Study ◽  
The Balkans ◽  
The Awakening ◽  
The Gift ◽  
History Of ◽  
History Of Literature

The paper aims is to present and evaluate the Review the History of Serbian Literature A. N. Pipin's as a classical history of Serbian literature that became part of the national culture. The development of the history of literature among Serbs, as an independent discipline and its modest beginnings, can be found in the first decades of the 19th century, in the time of Dositej and Vuk. In its beginnings, the history of literature was a "story" about the literary past of a nation and at its core was - criticism. This main idea as an axiom is a signpost that leads from the history of literature, which has long performed the function of criticism, to the genesis of literary criticism as the youngest branch of literary science and the way it formulated and exercised its functions in conditions when literary history was in a certain measures and history of the people. The Serbs received the first History of Serbian Literature (1865) from the pen of Pavel Jozef Šafarik (1795–1861), a Protestant and German student who served in Novi Sad. The next history of Serbian literature was also written by a foreigner, the Russian Alexander Nikolaevich Pipina (1833–1904). His Review the History of Serbian Literature (1865) has not been fully translated into Serbian. When marking questions from the new Serbian literature, Pipin's approach leads to a synthesis of ideas about cultural and political and national development. Slavery replaced the idea of revival "among Orthodox Serbs who fled to Austria". From that perspective, he views the development of national literature as an important part of culture and identity. Pipin also deals with the issue of national identity and the awakening of the national consciousness of the Slavs in his extensive study "Panslavism in the Past and Present" (1878), in which "the Serbian national question is incorporated into the general critique of Russian official policy and Slavophile orientation in the Balkans during Eastern Europe crisis". In this paper, we value his competence, cultural mission, the gift of the comparator, without which there is no great literary historian, and his practical contribution to classifying Serbian literature and culture in the European context.

scholarly journals Reaffirmation of the methods and spirit of literary criticism: Contribution to the interpretation of The history of Serbian literature by Jovan Deretić

Bastina ◽  
2021 ◽  
pp. 55-80
Author(s):  
Ana Mumović
Keyword(s):  
Cultural Heritage ◽  
Literary Criticism ◽  
Literary History ◽  
Critical Evaluation ◽  
The People ◽  
History Of ◽  
Definition Of ◽  
History Of Literature ◽  
Comprehensive History

The paper discusses five monographs by Jovan Deretić, which the author considers "accompanying books" of his History of Serbian Literature. These are: Marko Kraljević's riddle - about the nature of historicity in Serbian folk epics, The path of Serbian literature - identity, borders, aspirations, Poetics of Serbian literature, Serbian folk epics and Etudes from old Serbian literature. In this paper, we analyze them as a contribution to the interpretation of the History of Serbian Literature, the most comprehensive history of literature in Serbian science to the extent that they are important as proof of Deretić's great synthesis and consideration of the function of literary criticism in Serbian culture. An important definition of the "accompanying books" is provided by the author in their prefaces and notes. It is summarized in the theoretical and applied level in the process of considering important issues of Serbian literary history: periodization and classification of literature, poetic or historical determinants and the significance of particular epochs, writers, or genres. A review of the critical evaluation of Serbian literature and historical and cultural heritage in the accompanying books shows that Deretić pragmatized his scientific thought and reaffirmed literary criticism, directing it "for the benefit of the people". This means that he gave it a practical and social function and intended it "for a distant generation".

scholarly journals Dawne i Nowe Modele Porównawczej Historii Literatur(y) / Old and new Models of Comparative History of Literature(s)

2012 ◽  
Vol 53 (4-5) ◽  
pp. 387-400
Author(s):  
Olga Płaszczewska
Keyword(s):  
Literary Theory ◽  
Literary History ◽  
History Of Ideas ◽  
Comparative Approach ◽  
Reception Studies ◽  
Perspective Drawing ◽  
New Models ◽  
History Of ◽  
National Perspective ◽  
History Of Literature

Summary This article examines the history of national literatures seen from a broader, supra-national perspective. Drawing on some landmarks of literary theory it focuses on bilateral and more complex literary relationships (Paul Van Tieghem) and midsets (R. E. Curtius), history of ideas and ‘movement of thought’ (M. J. Valdés), reception studies (Hans-Robert Jauss, Yves Chevrel), periodization and genre history (E. Miner), and problems of ‘circulation du sens’ (Jean-Louis Backès). It is hoped that the confrontation of the old and the new models of comparative literary history will gives us a better grasp of the nature and uses of the comparative approach in the history of literature.

The New School of Literary History in Russia

PMLA ◽  
2004 ◽  
Vol 119 (1) ◽  
pp. 120-132
Author(s):  
Boris Tomashevsky ◽  
Gina Fisch ◽  
Oleg Gelikman
Keyword(s):  
Literary Criticism ◽  
Literary Theory ◽  
Literary History ◽  
Formal Method ◽  
Systematic Analysis ◽  
Russian Formalism ◽  
New School ◽  
History Of ◽  
The Subject ◽  
Formal School

Anthologies of literary theory, the backbone of courses on literary criticism, rely on viktor Shklovsky's “Art as a Device” or Boris Eikhenbaum's “The Theory of the ‘Formal Method‘” to broach the subject of Russian formalism. The canonical status of these essays is well deserved. Written when the author was merely twenty-four, Shklovsky's 1917 essay bristles with a polemical fervor, wit, and knack for example that announce him as a critical prodigy. Marked by the mixture of embittered pride, rigor, and self-conscious malaise typical of later formalism, Eikhenbaum's dense history of the formal school is remarkable for its titanic effort to marry historical considerations to a systematic analysis of the evolution of key formalist doctrines.

scholarly journals Realizm socjalistyczny w nowym kontekście. Projekt badania historycznoliterackiego [Socialist Realism in a New Perspective: A Proposal of Literary History Analysis]

2019 ◽  
Author(s):  
Katarzyna Chmielewska
Keyword(s):  
Literary Criticism ◽  
Literary History ◽  
Socialist Realism ◽  
Symbolic Capital ◽  
Research Paradigm ◽  
History Analysis ◽  
History Of ◽  
New Perspective ◽  
History Of Literature

Socialist Realism in a New Perspective: A Proposal of Literary History AnalysisThis article attempts to offer a new perspective on the infamous phenomenon of socialist realism. The author describes the literature of the period, the debates that revolved around it at the time, and the Marxist literary criticism and Marxist history of literature. An examination of the existing research paradigm leads her to recognize the need for its expansion and propose an analysis of socialist realism that relies on Pierre Bourdieu’s categories of distinction, symbolic capital and habitus. Realizm socjalistyczny w nowym kontekście. Projekt badania historycznoliterackiegoTekst jest próbą nowego spojrzenia na niesławne zjawisko realizmu socjalistycznego. Autorka odnosi się do literatury tamtego czasu oraz dyskusji wokół literatury, nowej krytyki marksistowskiej i marksistowskiej historii literatury. Analizując dotychczasowy paradygmat badań, dostrzega potrzebę jego poszerzenia. Skupia się na strategii realizmu socjalistycznego, nie zaś na stylu. Proponuje jego analizę w kategoriach francuskiego socjologa Pierre’a Bourdieu z charakterystycznymi dla niego pojęciami dystynkcji, kapitału symbolicznego i habitusu.

Acta Fluens – Generatives Handeln und Improvisation im Jazz

2014 ◽  
Vol 59 (1) ◽  
pp. 49-60
Author(s):  
Davide Sparti
Keyword(s):  
Walter Benjamin ◽  
History Of Philosophy ◽  
Human Existence ◽  
The Unconscious ◽  
The Past ◽  
The Future ◽  
History Of

Obwohl jede menschliche Handlung mit einem gewissen Grad an Improvisation erfolgt, gibt es kulturelle Praktiken, bei denen Improvisation eine überwiegende Rolle spielt. Um das Risiko zu vermeiden, einen zu breiten Begriff von Improvisation zu übernehmen, konzentriere ich mich im vorliegenden Beitrag auf den Jazz. Meine zentrale Frage lautet, wie Improvisation verstanden werden muss. Mein Vorgehen ist folgendes: Ich beginne mit einem Vergleich von Improvisation und Komposition, damit die Spezifizität der Improvisation erklärt werden kann. Danach wende ich mich dem Thema der Originalität als Merkmal der Improvisation zu. Zum Schluss führe ich den Begriff affordance ein, um die kollektive und zirkuläre Logik eines Solos zu analysieren. Paradigmatisch wird der Jazzmusiker mit dem Engel der Geschichte verglichen, der nur auf das Vergangene blickt, während er der Zukunft den Rücken zugekehrt hat, und lediglich ihr zugetrieben wird. Weder kann der Improvisierende das Material der Vergangenheit vernachlässigen noch seine genuine Tätigkeit, das Improvisieren in der Gegenwart und für die Zukunft, aufgeben: Er visiert die Zukunft trotz ihrer Unvorhersehbarkeit über die Vermittlung der Vergangenheit an.<br><br>While improvised behavior is so much a part of human existence as to be one of its fundamental realities, in order to avoid the risk of defining the act of improvising too broadly, my focus here will be upon one of the activities most explicitly centered around improvisation – that is, upon jazz. My contribution, as Wittgenstein would say, has a »grammatical« design to it: it proposes to clarify the significance of the term »improvisation.« The task of clarifying the cases in which one may legitimately speak of improvisation consists first of all in reflecting upon the conditions that make the practice possible. This does not consist of calling forth mysterious, esoteric processes that take place in the unconscious, or in the minds of musicians, but rather in paying attention to the criteria that are satisfied when one ascribes to an act the concept of improvisation. In the second part of my contribution, I reflect upon the logic that governs the construction of an improvised performance. As I argue, in playing upon that which has already emerged in the music, in discovering the future as they go on (as a consequence of what they do), jazz players call to mind the angel in the famous painting by Klee that Walter Benjamin analyzed in his Theses on the History of Philosophy: while pulled towards the future, its eyes are turned back towards the past.

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