Opposing deconstruction: the value aspect of the theory of artistic wholeness

2020 ◽  
pp. 126-138
Author(s):  
O. R. Minnullin
Keyword(s):  
Literary Criticism ◽  
Literary Theory ◽  
Literary Work ◽  
Literary Critic ◽  
Instrumental Approach ◽  
The World ◽  
The Aesthetic

The article discusses the legacy of the literary critic M. Girshman, in particular, his book A Work of Literature. The Theory of Artistic Wholeness [Literaturnoe proizvedenie. Teoriya khudozhestvennoy tselostnosti] (2007), which argues the priority of the holistic and value-based approach to literary criticism over Postmodernist deconstruction practices. According to Girshman, the language of a literary work is an embodied and materialized aspect of aesthetic reality and beauty, incorporating the Truth and the Good. The scholar sees it as the ‘existential-semantic assumption’ of literary criticism. O. Minnullin defends Girshman’s method and challenges the ‘instrumental’ approach of ‘deconstructionist’ philologists, which he believes reduces the aesthetic space: significance in place of meaning; the discourse in place of the world; actions or simulation in place of existence; the scribe in place of the author; a construction or deconstruction in place of wholeness, etc. The article is written in response to the polemic reaction of ‘deconstructionists’ to V. Tyupa’s ‘Literary Theory Two’ As a Threat to Humanities, published in Voprosy Literatury in 2019.

Phenomenology

2019 ◽  
Author(s):  
Horst Ruthrof
Keyword(s):  
United States ◽  
Literary Criticism ◽  
Literary Theory ◽  
Literary Work ◽  
The United States ◽  
Work Of Art ◽  
Jean Paul ◽  
Literary Work Of Art ◽  
Wolfgang Iser ◽  
Reception Aesthetics

Phenomenological literary theory has its roots in Edmund Husserl’s studies of the directional acts of consciousness in the first half of the 20th century and Roman Ingarden’s The Literary Work of Art and The Cognition of the Literary Work of Art, arguing that literary works can come into existence only in the act of reading. Under the influence of Martin Heidegger, phenomenology absorbed hermeneutic insights from Dilthey, Gadamer, and Ricoeur, as well as existentialist features, foremost from Jean-Paul Sartre, with Merleau-Ponty contributing a corporeal accent by reiterating Husserl’s distinction between the biophysical body (Körper) and the animate body (Leib). George Poulet of the Geneva school and the early Yale critics added an author-oriented form of literary criticism, while Ingarden’s work was taken up by the Konstanz school theorists Wolfgang Iser and Hans Robert Jauss, the latter challenging ontological approaches by a historically anchored form of reception aesthetics. In the United States, the idea of phenomenology in literature has been prominently pursued by Maurice Natanson. At the same time, phenomenological literary theory is undergoing a revival in the wake of the neo-phenomenology of Hermann Schmitz, notably in such writings as Rita Felski’s Uses of Literature.

“Outer” and “Inner” Body in Mikhail Bakhtin’s Literary Theory

2014 ◽  
Vol 14-15 (1) ◽  
pp. 1-11
Author(s):  
Géza S. Horváth
Keyword(s):  
Literary Theory ◽  
The Body ◽  
The Other ◽  
The World ◽  
New Vision ◽  
The Aesthetic ◽  
Act And Being

Bakhtin subordinates the experience of the body to the experience of the action, to the participation in the event of being. The world's thickening into body around the man is named as a new reality, an “aesthetic reality” by Bakhtin: “the artist and art as a whole create a completely new vision of the world, a new image of the world, a new reality of the world’s mortal flesh [реальность смертной плоти мира], unknown to any of the other clturally creative activities. [. . .] Aesthetic activity collects the world scattered in meaning and condenses it into a finished and self-contained image [образ]. This constitutes the analogy of the body and the artistic form for the creative view. The aesthetic activity gathers and thickens into a complete, sufficient- for-itself image the world dispersed from the perspective of the sense. The problem of the outer and inner body is treated in this paper in the light of Bakhtin’s philosophy of the act and being.

scholarly journals Lesia Ukrainka: spirit and body (linguistic reception of spiritual and body modes in the poetry of Lesia Ukrainka)

2020 ◽  
pp. 36-47
Author(s):  
Olena Malenko
Keyword(s):  
Literary Criticism ◽  
The Body ◽  
Literary Critic ◽  
Interpretive Analysis ◽  
The World ◽  
Conducting Research ◽  
Poetic Texts ◽  
Hearing Voice ◽  
Linguistic Material ◽  
Traditional Image

The article is a linguistic attempt to reconsider the traditional image of Lesіa Ukrainka as first of all a courageous and indomitable person. The priorities of the writer’s life in the traditional reception are strong spirit, will, courage, steadfastness. We want to present a different image of the writer - emotionally vulnerable, sensual, life-loving, passionate nature. She perceives the world not only spirit, but first of all the body as the first attribute of life, biological existence. We received all the information necessary for semantic decoding in the linguistic, in particular lexical and grammatical organization of Lesіa Ukrainka’s poetic texts. We used not only linguistic-stylistic, contextual, interpretive analysis of contexts, but also the bodily-mimetic method, which is relevant in modern literary criticism. The follower of this method is the Ukrainian literary critic Felix Steinbuk, his work became the theoretical basis for the analysis of linguistic material. We placed special emphasis on the poetic representation of the categories of corporeality in the writer’s texts: ontological (life, heart) and epistemological categories (sight, eye; hearing, voice). After conducting research in the selected strategies, we proposed the image of another Lesіa Ukrainka, which to some extent opposes the canonical versions. We have actualized in this image not the power of the spirit, but the powerful power of the body, hence the vital energy, the love of life, the manifestation of its pathos.

scholarly journals The Early Stage of Buryat-Mongol Literature

2021 ◽  
Vol 6 (1) ◽  
pp. 320-337
Author(s):  
Elizaveta E. Baldanmaksarova
Keyword(s):  
Literary Criticism ◽  
Literary History ◽  
Early Stage ◽  
Literary Work ◽  
Literary Studies ◽  
Relevant Research ◽  
Literary Research ◽  
The World ◽  
History Of ◽  
Buddhist Culture

The article examines the genesis of Buryat literature, which is key to the modern literary studies of Buryatia. Its aim is to recreate the history of Buryat literature and place it in the cultural and philosophical context of the history of Mongolian ethnos. It is well known that the genesis of Buryat literature owes to the literary work as well as to the theoretical and literary research of the first Buryat scholars and writers from among the Buddhist clergy. The search, introduction, and study of literary works written by Buryat authors in the 18 th — early 20 th centuries is one of the relevant research tasks that opens new perspectives for modern Buryat literary criticism and for humanities in general. The emergence and development of Buryat literature is closely connected with the spread of Buddhist culture, the Buddhist vision of the world, therefore it should be studied in the context of Buddhist aesthetic thought. The article pays special attention to the literary history of Mongolians that, since the 13 th century, has been developing in the context of multilateral literary ties and contacts. It examines the following typical genres: travelogue, hagiographic, hymn poetry, subhashita, and poem.

Romantic epics Navoi interpreted by Olim Sharafiddinov

2020 ◽  
Vol 61 (12) ◽  
pp. 27-31
Author(s):  
Muborak Abdullaevna Ataniyazova ◽  
Keyword(s):  
Literary Criticism ◽  
Key Words ◽  
Point Of View ◽  
Semantic Features ◽  
Literary Critic ◽  
Scientific Analysis ◽  
The World ◽  
Artistic Interpretation

This article deals with a scientific analysis of the views of the literary critic Olim Sharafiddinov on the poetics of the epic Alisher Navoi "Khamsa", in particular, "Farhod and Shirin", "Leyli and Majnun". It evaluates the views of the scientist on this topic, the world of images, plot and composition from today's point of view. Also, scientific problems related to the poetics of the epic are studied, new views are put forward on the genre and semantic features of this immortal work. Along with this, issues related to the poetics of the epic are clarified. Key words: views of Olim Sharafiddinov, poetics of the epic, composition, literary criticism of the 1930s, artistic interpretation

scholarly journals NEW MATERIALISM: PROJECTIONS INTO LITERARY THEORY AND CRITICISM

2021 ◽  
pp. 153-159
Author(s):  
Mariya Shymchyshyn
Keyword(s):  
Literary Criticism ◽  
Literary Theory ◽  
Object Oriented ◽  
Literary Work ◽  
New Materialism ◽  
New Historicism ◽  
New Criticism ◽  
Theory And Criticism ◽  
Binary Oppositions ◽  
Literary Theory And Criticism

The article considers the recent (re)turn to materiality in philosophy and theory, in particular, such schools as speculative realism and object-oriented philosophy. They offer rethinking of objects and criticism of anthropocentric worldview. The attention to materiality privileges matter, body, and nature. Theorists of New materialism reject the binary oppositions (nature/culture, human/nonhuman, etc.) and insist on intra-action as a new materialist orientation. The author argues that the new materialist critique of conventional critique will be useful for literary theory and criticism. According to Latour, critique should be productive and collaborative. As far as critical judgments rely on thelogic of representation that in its turn is based on similarity, analogy and opposition they restrict the analytic enterprise. Moreover, it is necessary to rethink conventional practices of interpretation and explanation. In this context, K. Barad proposes to substitute these strategies with the practice of ‘diffraction’. In the second part of the article, the author analyzes Graham Harman’s article The Well-Wrought Broken Hammer:Object-Oriented Literary Criticism. We pay attention to Harman’s critique of New Criticism, New Historicism, and Deconstruction in their contrast to object-oriented philosophy. In his analysis of New Criticism, Harman figures out the taxonomic fallacy within this theory. He argues against the idea that only poetry has all the non-prose sense while other disciplines have the literal sense. His second argument against New Criticism problematizes the unity of all the elementsin a literary work. Harman outlines the assumptions of New Historicism and points out that it turns everything into interrelated influences. Instead, he argues that contextuality is not universal. In his criticism of Deconstruction Harman underlines that Derrida wrongly believes that ontological realism automatically entails an epistemological realism. In his turn, Harman insists that the thing is deeper than its interactions are.

scholarly journals ART SPACE OF CONTEMPORARY DRAMA

2021 ◽  
pp. 49-57
Author(s):  
S. F. Sokolovska
Keyword(s):  
Literary Criticism ◽  
Literary Work ◽  
Temporal Organization ◽  
Human Beings ◽  
Relevant Task ◽  
The World ◽  
Alienation Effect ◽  
Dramatic Text ◽  
Spatio Temporal

Sokolovska S. F.The study of the modern literary situation, in particular, new trends in drama, is a relevant task for literary criticism. The work of playwrights of the 90s of the twentieth century deserves special attention since the literary practice of this generation of artists caused a number of significant shifts in various formally substantive areas of drama. Indicative in this respect are the works of the modern German author R. Schimmelpfennig. In the process of literary study of the play «The Golden Dragon», an analytical model of a literary text has been built, which is correlated with the interpretation model of a literary work. The chronotope and structure of the narrative reflect the artistic picture of the world and the concept of personality. Creating these aspects of artistic reality, the playwright turns to the aesthetics of B. Brecht’s epic theater. First of all, this is the alienation effect, which occurs through seventeen roles that are distributed among five actors. However, the characters are not puppet heroes, human beings without identity, they play the role of storytellers, report events, addressing directly to the audience. The author’s presence is being augmented, which is realized in the epization of a dramatic text, in the author’s direct description of the characters, in the spatio-temporal organization of the work. The reality that the world of a multi-storey building reproduces in the play does not allow a person to realize themselves. Such a manifestation becomes possible in an imaginary world, in human consciousness. The acquisition of personal uniqueness, the establishment of deep, essential connections with other people occurs in an open, unlimited mental space.

scholarly journals William Wordsworth’s Theoretical Contribution to Canon of Literary Criticism in Light of Preface to Lyrical Ballads

2020 ◽  
Vol 8 ◽  
pp. 664-669
Author(s):  
Ercüment Yaşar
Keyword(s):  
Literary Criticism ◽  
Literary Theory ◽  
Literary Work ◽  
Theoretical Level ◽  
Theoretical Contribution ◽  
Romantic Poetry ◽  
Lyrical Ballads ◽  
The Subject ◽  
Definition Of ◽  
Basic Constituent

Wordsworth’s Preface to Lyrical Ballads, with Pastoral and Other Poems (1802) is both a revolutionary manifesto and a kind of foundational text in the context of the canon of Romantic poetry because of its normative analysis on the nature of poetry and its basic constituent parts although when compared to the systematic approaches in the twentieth century literary theory, Wordsworth does not present an autonomous critical method capable of providing universally valid principles in evaluation of the text. This paper mainly aims to discuss Wordsworth’s contribution to canon of literary criticism on the theoretical level by giving concrete examples from Preface to Lyrical Ballads, with Pastoral and Other Poems (1802) as well as scrutinizing Wordsworth’s definition of poetry and the poet, his ideas on the origin of poetry, the subject matter of poetry, and the language of poetry respectively in order to show that it is revolutionary in terms of prescribing some principles in evaluation of a literary work.    

scholarly journals Euzebiusz Słowacki – Writer and Literary Critic

2017 ◽  
Vol 58 (1) ◽  
pp. 1-13
Author(s):  
Helena Markowska
Keyword(s):  
Eighteenth Century ◽  
Literary Criticism ◽  
Literary Work ◽  
Literary Critic ◽  
Literary Practice ◽  
Late Eighteenth Century ◽  
Polish Version ◽  
Late Eighteenth ◽  
The University ◽  
The Relationship

Summary This article examines the relationship between literary practice and literary criticism in Polish late Neoclassicism in the work of Euzebiusz Słowacki, who combined the roles of writer and critic in a way not untypical at that time. Born in 1773, he made his reputation as a playwright, literary critic, poet and translator, and in 1811 became Professor of Poetry and Elocution at the University of Wilno. First, the article sets out to prove that both his literary work and his criticism are greatly indebted to the late eighteenth-century doctrine of taste, of which he wrote at length himself. The second part is concerned with a comparison of his theoretical reflections about tragedy and his own tragedies. The analysis of their form shows that Euzebiusz Słowacki not only strove to scale the ultimate tragic heights but also to create a Polish version of the neoclassic tragedy. His tragedy follows the best French and ancient models - especially Racine (whom he probably translated into Polish) - but also questions them in a way which shows that Słowacki was no mere imitator.

“Outer” and “Inner” Body in Mikhail Bakhtin’s Literary Theory

2014 ◽  
Vol 14-15 (1) ◽  
pp. 144-154
Author(s):  
Géza S. Horváth
Keyword(s):  
Literary Theory ◽  
The Body ◽  
The Other ◽  
The World ◽  
New Vision ◽  
The Aesthetic ◽  
Act And Being

Bakhtin subordinates the experience of the body to the experience of the action, to the participation in the event of being. The world's thickening into body around the man is named as a new reality, an “aesthetic reality” by Bakhtin: “the artist and art as a whole create a completely new vision of the world, a new image of the world, a new reality of the world’s mortal flesh [реальность смертной плоти мира], unknown to any of the other clturally creative activities. [. . .] Aesthetic activity collects the world scattered in meaning and condenses it into a finished and self-contained image [образ]. This constitutes the analogy of the body and the artistic form for the creative view. The aesthetic activity gathers and thickens into a complete, sufficient- for-itself image the world dispersed from the perspective of the sense. The problem of the outer and inner body is treated in this paper in the light of Bakhtin’s philosophy of the act and being.

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