-- PART VI: LITERATURE -- Statut idéologique de la métanarrative / Agosti, Stefano -- A Tautological Poem / Almansi, Guido -- The Poetics of Allusion - A Text Linking Device - In Different Media of Communication / Ben-Porat, Ziva -- La signification en poetique et/ou en histoire de la littérature / Balachov, Nicolas -- Structuralism, New Criticism, and the Chicago School: A Liminary Statement / Blanchard, Jean-Marc -- Signe et chose dans la littérature d'avant-garde de l'Europe de Test / Bojtàr, Endre -- Euphony and the Weltanschauung in Hâfiz's Poetry / Broms, Henry -- Conditions de l'écriture d'une théorie de l'économie signifiante: la figuration sémiotique / Bouazis, Charles -- Remarks on the Compositional and Thematic Structure of a Gryphius Sonnet / Csuri, Karoly -- Allegory and the Status of Literary Semiotics / Culler, Jonathan -- Textes et macrotexte / Corti, Maria -- The Textemic Status of Signs in a Literary Text and its Translation / Even-Zohar, Itamar -- Some Observations on Modernism as a Period Code with Reference to Thomas Mann's Der Zauberberg / Fokkema, D. W. -- Description et règles poétiques. Sur un mécanisme poétique chez Sade / Gebauer, Gunter -- La lecture comme Performance — psycholinguistique et communication littéraire / Geerts, W. -- Avoir du sens vs. avoir un sens dans une perspective discursive / Geninasca, Jacques -- Codage idéologique des texte littéraires / Grivel, Charles -- Champs sémantiques du niveau émotionnel de l'expérience esthétique / Jôzsa, Peter -- La narration et les types de discours / Kanyö, Zoltân -- Texte et paratexte. Essai sur la préface du roman classique / Lecointre, Simone / Gälliot, Jean le -- Enchâssement narratif de textes lyriques: le cas du roman de Flamenca / Limentani, Alberto -- Référents de la narration / Lonzi, Lidia -- The Programming of Best-Seller Elements into Popular Narration : Richard Bach's Jonathan Livingston Seagull and Segal's Love Story / Merry, Bruce -- Postulats narratifs et rythme sémantique / Pavel, Thomas G. -- Poetic Communication Versus Literary Language Or: The Linguistic Fallacy in Poetics / Posner, Roland -- Essai de typologie sémiotique des titres d'oeuvres / Rey Debove, Josette -- Connotative Systems and their Functions in Shakespeare's Sonnet 87 / Rutelli, Romana -- Joyce: Epiphany and Code / Sandulesco, Constantin-George -- Communauté des théories linguistique et littéraire sous l'angle de la sémiotique / Stepanov, Yuri S. -- Limits of Signs / Sus, Oleg -- Sémiotique de la littérature / Todorov, Tzvetan -- Poetics as a Theory of Expressivity ('Theme — Expressivity Devices — literary Text Model) / Zolkovskij, A. K. -- PART VII: ICONICITY AND VISUAL ARTS -- Créativité et sémiotique d'un langage visuel / Arlandi, Gian Franco -- 'Oleus ex Machina'. Analyse sémiotique d'un texte publicitaire / Baldi, Paolo / Fatassi, Alessandro / Wolf, Mauro -- The Role of Semiology in the Visual Arts / Battisti, Eugenio -- The Nature of Depiction / Cameron, Eric -- Semiotic Disalienation and 'Visual Poetry' / Calabrese, Omar -- La bande dessinée: de la narration figurative à la figuration narrative / Fresnault-Deruelle, Pierre -- Sémiologie du message visuel: analyse de la création plastique avec des psychotiques au moyen de techniques non verbales / Gurevich, Ester -- Icons, Systems, and Object Relationships / Koch, Christian -- Does the Icon Have a Cognitive Value? / Maldonado, Tomas -- The Frame of the Painting or the Semiotic Functions of Boundaries in the Representative Process / Marin, Louis -- Iconicity and Connotation in the Photographic Image / McLean, William -- Visual Poetry / Miccini, Eugenio -- L'isotopie de l'image / Minguet, Philippe -- Art et semiologie. Code et transgression / Monnier, Jacques -- Semiotics and 'Visual Poetry' / Mucci, Egidio -- Some Theoretical Considerations Concerning an Experimental Approach to the Dynamics of Sign Perception / Nowakowska, Maria -- The Neo-Ideogram - From Advertising to Visual Poetry / Pignotti, Lamberto -- Semiotic Relevance of the Pictorial Sign / Ravera, Rosa Maria -- 'Abstraction' et representation (iconologie et sémiotique picturale) / Rey, Alain -- Art pauvre/monde pauvre / Restany, Pierre -- Notes pour une recherche sur l'image / Sercovich, Armando -- Lucky Luke: Rhétorique et sens dans la nouvelle bande dessinée / Sternberg, Oscar -- Le blanc et le noir dans l'art abstrait / Valliér, Dora -- PART VIII: CINEMA, TELEVISION AND THEATRE -- Quand la sémiologie est séduite par la mise en scène / Bettetini, Gianfranco -- Semiotics Ante Litteram : Notes on Pirandello's Reactions to sound film / Bolognese, G. A. -- The System of the Specular Text with Reference to Stagecoach / Browne, Nicholas K. -- Pour une sémiotique intégrée des signes cinématographiques / Brunetta, Gian Piero -- Le théâtre comme modèle général du langage / Cascetta, A. / Marconi, E. / Martinelli, A. / Rovetta, A. -- The Hero in Drama — An Investigation of a Semiotic Principle / Cassirer, Peter -- Pour une approche sémiotique du théâtre comme message multilinéaire / De Marinis, Marco / Magli, Patrizia -- Aspects sémiotiques de la stratégie des personnages dans le théâtre / Dinu, Mihai -- The Narrative Text of Shock Corridor / Hanet, Kari -- Réflexions sur la sémiologie du théâtre / Helbo, Andre -- Cinematographic Iconicity — Some Sigmatic Preliminaries / Kalkofen, Hermann -- Isotopie et dislocation des codes dans 'Six personnages en quete d'auteur' / Krysinski, Wladimir -- Fondements d'une sémiologie du théâtre sur la distinction de Peirce entre icônes, index et symboles / Pavis, Patrice -- Pour un message TV spécifique / Radu, Cezar -- The Language of the 'Telenovela' and its influence on Brazilian Society / Rector, Monica -- PART IX: ARCHITECTURE -- Design Versus Non-Designed Public Places / Agrest, Diana -- Building Design as an Iconic Sign System / Broadbent, Geoffrey H. -- Notes en marge des études italiennes sur la sémiotique architectonique / Dal Canton, Giuseppina -- Analyse sémiotique de la structure urbaine: le cas d'El Aaiun au Sahara / Luis Dalda, Juan / Marti Aris, Carlos / Pau Corominas, Luis -- Le discours de la ville / Fauque, Richard -- The Architectural Signifier / Gandelsonas, Mario -- Sémiotique de l'espace et sémiotique de l'architecture / Hammad, Manar -- A Semantic Analysis of Stirling's Olivetti Centre Wing / Jencks, Charles -- The Holy Trinity, the Structure of the Process of the Visual Perception of Architecture / Hesselgren, Sven -- Syntactic and Semantic Considerations in the Semiotic Analysis of Social Message Appearing as Physical Urban Structure and Use / Klapp, Merrie -- Systèmes logiques et symboliques dans le mécanisme de définition de l'espace / Muratore, Giorgio -- Sociologie et sémiotique / Ostrowetsky, S. / Bordreuil, S. -- Analyse sémiotique du plan d'architectecte / Provoost, Eric -- A Semiotic Approach to Architectural Criticism / Luisa Scalvini, Maria -- Architecture about Architecture: Self-Reference as a Type of Architectural Signification / Wittig, Susan -- PART X. MUSIC -- Une approche linguistique-mathématique de la sémiologie musicale / Cazimir, Bogdan -- Different Organizations of Complexity in Music and Literature / Golomb, Harai -- Valeurs dénotatives et connotatives dans le Capriccio B Dur (Abreise) de J.S. Bach / Dorfles, Gillo -- La sémiologie musicale: voie nouvelle pour l'interprétation / Guertin, Marcelle -- Quelques remarques sur la duplication chez Debussy / Hirbour-Paquette, Louise -- Syntactical Strata in Music / Lidov, David -- Problèmes de l'analyse sémiologique des oeuvres polyphoniques / Morin, Elisabeth -- Pour une méthode d'analyse des analyses / Naud, Gilles -- Semiotic Devices in Musical Drama, Some Observations / Noske, Frits -- The Role of a Typology of Transformations within the Semiotics of Musical Form / Osmond-Smith, David -- Pour une discipline du signe musical / Stefani, Gino -- PART XI.
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Includes bibliography (p. 331-349). ; Number of sources in the bibliography: 314 ; Thesis (Ph. D.) -- University of Cyprus, Faculty of Humanities, Department of English Studies, April 2015. ; The University of Cyprus Library holds the printed form of the thesis. ; Η υφιστάμενη διδακτορική διατριβή διερευνά τις αναπροσαρμογές των παραδοσιακών ειδών ποίησης και την ενασχόληση με καίρια πολιτικά ζητήματα της εποχής στο έργο της Ελισάβετ Μπάρετ-Μπράουνιγκ. Μέσα από την ανάλυση των βασικότερων έργων της, καταδεικνύεται ότι η ποιήτρια καταφέρνει να εισέλθει στην παροδοσιακά ανδροκρατούμενη λογοτεχνική περιοχή για να επαναπροσδιορίσει τα τυπολογικά στοιχεία του έπους, του σονέτου και του δραματικού μονόλογου οδηγούμενη από την επιθυμία της να ανανεώσει τις ποιητικές φόρμες αλλά και να αναταποκριθεί στις κοινωνικοπολιτικές συνθήκες της εποχής της. Το βασικό επιχείρημα αυτής της διατριβής έχει οδηγήσει στην αποδοχή της ύπαρξης μιας διαδραστικής λογοτεχνικής κοινότητας που απορρίπτει τη διαιώνιση της περιθωριοποίησης των ποιητριών λόγω της υποτιθέμενης τάσης τους προς το συναίσθημα. Αντίθετα, υποστηρίζεται ότι η απόδοση της αρμόζουσας ιστορικής προσοχής στο έργο της Ελισάβετ Μπάρετ-Μπράουνιγκ προϋποθέτει την απάμβλυνση της έντασης ανάμεσα σε αντιθετικά ζεύγη όπως άνδρας/δημόσια ζωή/πολιτικός λόγος και γυναίκα/ιδιωτική ζωή/συναισθηματικός λόγος, αναγνωρίζοντας έτσι τις πολιτικές προεκτάσεις του συναισθηματικού λόγου. Το Ρομαντικό της ιδεώδες για ένα νέο κόσμο αποδεικνύεται να είναι άμεσα συνδεδεμένο με τον επαναπροσδιορισμό της αντίληψης για τον εαυτό σε σχέση με τον άλλο και με τις μετασχηματιστικές δυνάμεις του ποιητή. Αποδεικνύεται ότι η ενασχόλησή της με κοινωνικοπολιτικά ζητήματα και η επιθυμία της να υψώσει μια επιβλητική φωνή στην ανροκρατούμενη λογοτεχνική κοινότητα υπήρξαν νευραλγικής σημασίας για την ποιητική της. Με σκοπό να προβληθεί ο τρόπος με τον οποίο επαναπροσδιορίζει την εμπειρία της γυναίκας συγγραφέως/ποιήτριας στοιχειοθετείται η καυστική κριτική της ενάντια στην κοινωνική ανισότητα, τα συστήματα καταπίεσης καθώς και η αξίωσή της για οικουμενική ειρήνη και εθνικό αυτοπροσδιορισμό. ; This thesis investigates Elizabeth Barrett Browning's revisions of traditional verse forms and her engagement with political debates of her time. Through an analysis of key works, I demonstrate how the poet trespasses traditionally male literary territory and rewrites the map of composition of the epic, the sonnet and the dramatic monologue, arguing that her revisionary impulse was cognate with the desire to address sociocultural contingencies. The main argument of this thesis has led to the acceptance of the existence of a dynamic interactive literary community and opposes the perpetuation of women poets' marginalization on account of their alleged predisposition to the sentimental. On the contrary, I argue that granting the deserved historical attention to the oeuvre of Elizabeth Barrett Browning presupposes the effacement of the tension between gendered antithetical pairs such as male/public/political and female/domestic/sentimental, thus acknowledging the political undercurrents informing the discourse of the sentimental. Her Romantic ideal of a new, transfigured world is shown to arise from her investment in re-calibrating the notion of the self in direct relation to the other and in assigning a transformative power to the function of the poet. Her entanglement with sociopolitical issues and her drive to assert an authoritative voice in the male dominated literary marketplace are shown to have played a seminal role in the shaping of her poetics. I demonstrate her trenchant critique of social inequality, and systems of oppression, as well as her plea for international conviviality and national self-definition showing how she manages to redefine female poetic experience.
This thesis explores cross-cultural encounters between China and three British left-wing writers – Harold Laski, W. H. Auden and Joseph Needham. The motivations underlying this study are the diversity and intensiveness of the British left's engagements with China's search for modernization in the twentieth century. Laski, Auden and Needham were all prominent British left-wing intellectuals, and each exerted a remarkable influence on the Chinese pursuit of modern democracy, literature, and science, the three important pillars of China's modernization since the May Fourth period. Grouping them together, the thesis makes a contribution to the study of the international impacts of the British left in general and the study of Sino-British cultural exchanges in particular. The conventional view emphasizes Western influences on China in modern times as unilateral knowledge transplantation from the advanced West to the backward East, thus the important role of the Chinese intelligentsia as cultural agency is often marginalized. This thesis, by contrast, interprets the British left's encounters with China as a process of interactive, dynamic, even dialectical transformation, from which both sides derived intellectual benefits. It not only demonstrates the initiative taken by the Chinese intellectuals in translating, interpreting, and applying Western knowledge to address their own particular problems, but also attempts to show the inspirations the British left-wing writers took from China in their own humanitarian struggle for a more liberal, equitable and peaceful world. The thesis is organized in chronological order with the earliest encounter discussed first. Chapter One examines Laski's impact on Chinese liberals' imagination and construction of an equitable and democratic China. It shows that the Chinese applications of Laski's political theory to their local concerns were highly selective, and it was difficult for Chinese liberals to fully embrace Laski's thought because of the inner conflict between the liberal and Marxist aspects of Laski. Chapter Two discusses Auden and Isherwood's co-authored book Journey to a War (1939) in the critical tradition of travel writing. It argues that their ironic self-consciousness of the travel book genre itself makes the book unique in Western representations of China, but exposes them to the critical charge of immature frivolity. It also shows that Auden worked towards a symbolic solution for the conflicting demands of the public and private worlds by interpreting the China war into a global human history in his sonnets. Chapter Three focuses on the reception of Auden's poetry in China. Exposing the limitations of the prevailing formalist-aesthetic approach, it unearths Zhu Weiji's Marxist interpretation of Auden and proposes an ideological criticism to re-examine Auden's influences on Chinese modernist poets. Chapter Four explores Needham's conversion to Chinese culture and his influences on China's understanding of its own science. By tracing various Chinese responses to the Needham Question, it argues that although Needham's research boosted the confidence of Chinese in their scientific tradition, the Chinese hunger for modern science is closely associated with nationalism, which is contradictory to the socialist universalism that behind Needham's intellectual project. ; published_or_final_version ; English ; Doctoral ; Doctor of Philosophy
The goal of this dissertation is to propose a theory for the emergence of Italian literary culture in the Duecento , with particular reference to the lyric production of Giacomo da Lentini and Guittone d'Arezzo, as well as to the Dantean literary history of Purgatorio XXIV and XXVI. `Le origini', the label long preferred by Italian literary criticism to describe the period between 1230 and 1300, presupposes a coherent national narrative framed, on one side, by an irrepressible vernacular spirit that defies political fragmentation and, on the other, by Italy's hard-won unification in the nineteenth century. Though Italian studies has done much to undermine this fiction for all periods of Italian literature, significant gaps in scholarship remain for the Duecento . This is due to complications arising, first of all, from the traditional division of disciplinary labor, but also from the condition of the literary record, which is limited chronologically to the years around 1300 and geographically to Tuscany and Bologna. A third challenge faced by scholars of the Italian thirteenth century is the overwhelming presence of Dante, whose self-consciously ambitious Commedia , along with the De vulgari eloquentia , provides the most complete, if problematically teleological, literary history available from the period. Recent advances in the history of rhetoric - in particular Ronald Witt's The Two Latin Cultures and the Foundation of Renaissance Humanism in Medieval Italy - have opened critical space for a non-teleological Duecento that is, nevertheless, acutely aware of Dante's influence. It is within that space that I intend to formulate a theory for the emergence of Italian literary culture that accounts not only for the writing practices of thirteenth-century Italian lyric poets, but also for the Dantean literary history that structures their reception. This dissertation argues that the three traditional movements of early Italian poetry - the scuola siciliana , the siculo-toscani , and the Dolce stil nuovo - can mapped onto the bifurcation of medieval Latin into the `legal-rhetorical' documentary culture of the communes, which emerged as a result of the Investiture Struggle in the eleventh and twelfth centuries, and the revival of Carolingian `traditional book culture' that accompanied the `rise of the signori ' at the end of the thirteenth century. The lyric poetry of the communal period - that of Giacomo da Lentini and Guittone d'Arezzo - results from the importation of Occitan song into a discursive milieu defined by the ars dictaminis . The effect of the practical rhetorical arts on the Duecento lyric can be seen, on the one hand, in its epistolary orientation, which is most fully manifest in the sonnet, tenzone , and canzoniere ; and, on the other, in the pessimistic ambiguity of Guittone's trobar clus, which foregrounds the troubling polysemy of courtly signifiers. Toward the end of the thirteenth century, however, renewed interest in `traditional book culture' attends the collapse of the commune, and Dante's Commedia disparages the association of Italy's early lyric tradition with the `municipal' activities of notaries and dictatores . Instead, Dante's classicizing tendencies, nourished not only by Brunetto Latini's Ciceronian revival, but also by early Paduan humanism, lead him to reject lyric poetry outright, which brings to a close the first stage of development of Italy's vernacular literary culture.
"A few worms, a bit of books, a bit of conversation, a bit of old titles: this is how life goes, which is as long and quieter as by governing states". In a letter to Ms de Svigné of 4 August 1687, Bussy defines writing, to or from, as one of the leisure activities of a teacher who is excluded from State affairs, alongside reading, conversation and searching for 'titles' that justify his power. In another letter, he refuses to be treated as 'an author who writes for printing' and defines himself as 'a good man who writes to care'. Writing is a leisure and at the same time a distinguishing sign, a mark of the quality of the author. However, the claim for noble writing, defined as a leisure and distinguishing practice, is made problematic by Bussy's situation: it is a great teacher and a great mindset, but also exiled because of his work of writing and author of a sulphur book, which then circulates in printed form, the history in love of the Gaules. The design of writing as a mondal leisure of a large teacher is thus put into tension by the exile, which describes Bussy's writing practice differently, making it an author at the very time when there is a 'birth of the writer'. It is this tension that needs to be explored here, from the worms written by Bussy during his exile and collected in his correspondence: what does exile — and through it the emergence of what we call literature — do to the noble practice of writing as a leisure? ; « Un peu de vers, un peu de prose, un peu de livres, un peu de conversation, un peu de vieux titres : voilà comment se passe la vie, qui est aussi longue ainsi et plus tranquille qu'en gouvernant les États ». Dans une lettre à Mme de Sévigné du 4 août 1687, Bussy définit l'écriture, en vers ou en prose, comme l'un des loisirs d'un seigneur écarté des affaires de l'État, aux côtés de la lecture, de la conversation et de la recherche des « titres » qui justifient son pouvoir. Dans une autre lettre, il refuse d'être assimilé à « un auteur qui écrit pour être imprimé » et se définit ...
Bodies Atomic: Lucretian Poetics in the Renaissance reveals a forgotten atomist genealogy at the heart of the lyric tradition. Today, Lucretius is well known as a source of materialist thinking in the Renaissance, but I argue that Renaissance poets read De rerum natura (DRN) as a meditation on the imagination, generating a line of atomist thought in and about verse. In Lucretius's versification of the atom - an invisible body situated at the tender intersection of the imaginary and the corporeal - Renaissance readers discovered a poetics that theorized how the resources of verse could elucidate material reality. On the one hand, Lucretian poetics helped them articulate poetry's purchase on material conditions, from patronage networks to politics. On the other, DRN asserted an intimate connection between poetry and natural philosophy, offering a vision of how poetry might constitute a natural philosophical method, even at a time when the rise of empirical scientific methodologies downgraded the capacity of the human imagination to conceive of and explain natural phenomena. Looking to DRN for theories of the imagination rather than matter, I reconsider what "materialism" means in the context of early modernity, and give a very different answer to the question of what made Lucretius important to the Renaissance. Moving outwards from a reading of Ovid and Petrarch's rarely acknowledged debt to Lucretius, the four chapters cover a wide range of Renaissance lyric, touching on such important figures as Petrarch, Pierre de Ronsard, Remy Belleau, John Donne, and Margaret Cavendish. The first two chapters argue that sixteenth-century French Pléiade poets recast Petrarchism in Lucretian terms, reimagining the Petrarchan poet's tears and sighs as atoms. Under the influence of Lucretius, Petrarchism became a tool for asserting the bond between poetry and matter, particularly for figuring poetic discourse as politically effective, an important concern for poets writing during the Wars of Religion. Chapter One, "A Replica of Love," looks at how Ronsard's Sonnets pour Hélène (1578) and Discours des misères de ce temps (1562) meld the tropes of love poetry with historical and political content. The second chapter, "Natural Resources," engages a lesser-known Pléiade poet, Remy Belleau, to argue that Belleau's lapidary collection, the Pierres précieuses (1576), adapts Lucretius's account of magnetism to figure poetic innovation as the driving force behind France's consolidation of political might, as well as the revivification of her cultural and natural resources. The third and fourth chapters turn to seventeenth-century England to demonstrate the persistence of Lucretian poetics in a period more commonly associated with the birth of modern scientific atomism. "All in You Contracted Is," Chapter Three, argues that John Donne uses atomist cosmology to envision and construct the networks in which his poems circulated. Contrary to common arguments that see in Donne's atomist imagery a hostile reaction to contemporary scientific innovations, I show that atomism is immensely productive for Donne as a way of envisioning literary networks. In my final chapter, "Poems and Fancies," I demonstrate that Margaret Cavendish's early atomist verse develops a Lucretian poetics that leads, in her later natural philosophical writings, to an imaginative epistemology in which fancy and the imagination, not experiment, are the proper tools for natural inquiry. By exposing the philosophical and literary stakes behind Cavendish's feminization of atomist cosmology and imaginative fancy, this chapter directly takes up the issues of gender and agency that run through the first three chapters.
The article is dedicated to the historical phenomenon of Thirty Years' War in its literary interpretation. This historical event remains an important component in the collective cultural memory of Germans. Thirty Years' War is still considered one of the most brutal wars in German history. In connection with its 400th anniversary, relevance is given to historical researches in which the Thirty Years' War is presented as a "distant mirror" which enables a better understanding of conflicts and threats to modernity. In this context the proposed study treats literary sources about Thirty Years' War as an original artistic phenomenon with profound history and specific interpretation of this historical event depending on a certain age. Naturally, the baroque period of this literature stands out – till this day our idea of the catastrophe of Thirty Years' War is shaped by such works as Simplicius Simplicissimus by H. J. C. von Grimmelshausen or the sonnet 'Tears of the Fatherland' by Andreas Gryphius. Baroque literature was exceptionally political, raising the problems of religion, propaganda, refugees, relations between the government and its subjects, between civilians and the army men. It told about the fight for public opinion which was conducted using all possible publicist and literary means, "about the superior right to interpret an event" which confirmed a well-known statement that the first casualty of War is Truth. However different "the individual truths" about the war were of those whose statements were recorded in literature, Grimmelshausen's statement about the war as "a terrible and merciless beast" remains the most important. All texts about Thirty Years' War have a different expression of the same characteristics – embodiment of the esthetics of murder and different forms of violence. That is why in the research the Thirty Years' War is perceived as a significant historical and literary experiential model which enables direct cognitive access to modernity which is proven by such novels as Munin or Chaos in the Head ("Munin oder Chaos im Kopf", 2018) by Monika Maron and Daniel Kehlmann's Tyll ("Tyll", 2017). Contemporary novels are analyzed through the prism of history textualization theory which erases the borders between historiography and artistic literature. As a result, it is claimed that in these works Thirty Years' War is presented as a textualized network of connections which enables construction of historical experience. Yet, it is discovered that a person is unable to learn from history. The only ironic lesson is the creative position "chaos in the head" and "fool" as a survival strategy. ; В связи с четырёхсотым юбилеем Тридцатилетней войны в Германии (1618–1648) рассматривается литературный образ Тридцатилетней войны, осмысливается его роль в актуальном политическом и социальном контексте. Отмечается, что эта война продолжает обращать на себя пристальное внимание как историков, так и писателей современности. Она фигурирует как модель для понимания актуальных конфликтов и угроз. История литературы о Тридцатилетней войне такая же давняя, как и память о ней. В этой литературной тенденции отразились особенности анализа этого исторического события в тесной связи со временем его толкования. На примере романов "Мунин, или Хаос в голове" ("Munin oder Chaos im Kopf", 2018) Моники Марон и "Тилль" ("Tyll", 2017) Даниэля Кельмана показано специфику современного текстуализированного конструкта истории, ироническим уроком которого является "хаос в голове" и "дурак" как стратегия выживания. ; У зв'язку із чотирьохсотим ювілеєм Тридцятилітньої війни в Німеччині (1618–1648) розглядається літературний образ Тридцятилітньої війни, осмислюється його роль в актуальному політичному й соціальному контексті. Зазначено, що ця війна продовжує привертати до себе пильну увагу як істориків, так і письменників сьогодення. Вона фігурує як модель для розуміння актуальних конфліктів і загроз. Історія літератури про Тридцятилітню війну така ж давня, як і пам'ять про неї. У цій літературній тенденції відбилися особливості аналізу цієї історичної події в тісному зв'язку з часом її тлумачення. На прикладі романів "Мунін, або Хаос в голові" ("Munin oder Chaos im Kopf", 2018) Моніки Марон і "Тілль" ("Tyll", 2017) Даніеля Кельмана показано специфіку новітнього текстуалізованого конструкту історії, іронічним уроком якого є "хаос в голові" і дурень як стратегія виживання.
The article is dedicated to the historical phenomenon of Thirty Years' War in its literary interpretation. This historical event remains an important component in the collective cultural memory of Germans. Thirty Years' War is still considered one of the most brutal wars in German history. In connection with its 400th anniversary, relevance is given to historical researches in which the Thirty Years' War is presented as a "distant mirror" which enables a better understanding of conflicts and threats to modernity. In this context the proposed study treats literary sources about Thirty Years' War as an original artistic phenomenon with profound history and specific interpretation of this historical event depending on a certain age. Naturally, the baroque period of this literature stands out – till this day our idea of the catastrophe of Thirty Years' War is shaped by such works as Simplicius Simplicissimus by H. J. C. von Grimmelshausen or the sonnet 'Tears of the Fatherland' by Andreas Gryphius. Baroque literature was exceptionally political, raising the problems of religion, propaganda, refugees, relations between the government and its subjects, between civilians and the army men. It told about the fight for public opinion which was conducted using all possible publicist and literary means, "about the superior right to interpret an event" which confirmed a well-known statement that the first casualty of War is Truth. However different "the individual truths" about the war were of those whose statements were recorded in literature, Grimmelshausen's statement about the war as "a terrible and merciless beast" remains the most important. All texts about Thirty Years' War have a different expression of the same characteristics – embodiment of the esthetics of murder and different forms of violence. That is why in the research the Thirty Years' War is perceived as a significant historical and literary experiential model which enables direct cognitive access to modernity which is proven by such novels as Munin or Chaos in the Head ("Munin oder Chaos im Kopf", 2018) by Monika Maron and Daniel Kehlmann's Tyll ("Tyll", 2017). Contemporary novels are analyzed through the prism of history textualization theory which erases the borders between historiography and artistic literature. As a result, it is claimed that in these works Thirty Years' War is presented as a textualized network of connections which enables construction of historical experience. Yet, it is discovered that a person is unable to learn from history. The only ironic lesson is the creative position "chaos in the head" and "fool" as a survival strategy. ; В связи с четырёхсотым юбилеем Тридцатилетней войны в Германии (1618–1648) рассматривается литературный образ Тридцатилетней войны, осмысливается его роль в актуальном политическом и социальном контексте. Отмечается, что эта война продолжает обращать на себя пристальное внимание как историков, так и писателей современности. Она фигурирует как модель для понимания актуальных конфликтов и угроз. История литературы о Тридцатилетней войне такая же давняя, как и память о ней. В этой литературной тенденции отразились особенности анализа этого исторического события в тесной связи со временем его толкования. На примере романов "Мунин, или Хаос в голове" ("Munin oder Chaos im Kopf", 2018) Моники Марон и "Тилль" ("Tyll", 2017) Даниэля Кельмана показано специфику современного текстуализированного конструкта истории, ироническим уроком которого является "хаос в голове" и "дурак" как стратегия выживания. ; У зв'язку із чотирьохсотим ювілеєм Тридцятилітньої війни в Німеччині (1618–1648) розглядається літературний образ Тридцятилітньої війни, осмислюється його роль в актуальному політичному й соціальному контексті. Зазначено, що ця війна продовжує привертати до себе пильну увагу як істориків, так і письменників сьогодення. Вона фігурує як модель для розуміння актуальних конфліктів і загроз. Історія літератури про Тридцятилітню війну така ж давня, як і пам'ять про неї. У цій літературній тенденції відбилися особливості аналізу цієї історичної події в тісному зв'язку з часом її тлумачення. На прикладі романів "Мунін, або Хаос в голові" ("Munin oder Chaos im Kopf", 2018) Моніки Марон і "Тілль" ("Tyll", 2017) Даніеля Кельмана показано специфіку новітнього текстуалізованого конструкту історії, іронічним уроком якого є "хаос в голові" і дурень як стратегія виживання.
Dottorato di ricerca in Scienze storiche e dei Beni Culturali ; La presente ricerca nasce con l'intento di approfondire la genesi della produzione artistica degli autori che gravitarono attorno al Circolo degli spirituali di Viterbo (soprattutto Michelangelo, Sebastiano del Piombo e Marcello Venusti). In particolare si è voluta analizzare l'influenza delle dottrine eterodosse sugli artisti e sui loro ipotetici 'ispiratori', fra i quali svolse un ruolo di primo piano la Marchesa di Pescara Vittoria Colonna. Tale influenza è stata sino ad ora sostenuta da gran parte della critica, ma uno spoglio più approfondito e completo delle fonti ha invece dimostrato che tale tesi non appare avallabile. La ricerca ha fatto uso di fonti di diversa natura, raccolte seguendo tre principali direttrici di indagine: quella storica, al fine di inquadrare il contesto culturale, politico e religioso; quella letteraria, con l'obiettivo di cogliere i collegamenti significativi nel pensiero dei personaggi coinvolti; e quella più propriamente stilistica, iconografica e iconologica. Per delineare il ruolo di Vittoria Colonna all'interno del Circolo e la sua adesione a dottrine eterodosse, sono stati scandagliati gli atti dei processi inquisitoriali in cui fu coinvolta e quelli, anche successivi alla sua morte, contenenti elementi in sua difesa, come le deposizioni del protonotario apostolico Pietro Carnesecchi, del cardinale Giovanni Morone, del vescovo Vittore Soranzo e del sacerdote Apollonio Merenda. L'analisi è proseguita con la disamina dei testi eterodossi, come il Pianto della Marchesa di Pescara e i Sonetti che quest'ultima scrisse in diverse fasi della sua vita. Segue l'indagine sui manufatti prodotti per quel milieu culturale da Michelangelo (anch'esso accusato di eterodossia dalla storiografia sebbene mai coinvolto in processi), Marcello Venusti, Pontormo, Giovanni de' Vecchi e soprattutto Sebastiano Luciani detto "del Piombo", che della Colonna fece alcuni ritratti. A completare l'indagine alcuni documenti inediti del 1538 relativi alle proprietà abitative del Luciani, in cui, secondo le fonti antiche, egli «si era murata vivo», godendosi i privilegi garantiti dallo stipendio fisso che guadagnava come piombatore in Vaticano. Alla trascrizione di tali documenti è dedicata un'appendice, in cui trovano spazio anche una serie di missive indirizzate da Giovanni Morone a Cristoforo Madruzzo conservate presso l'archivio di Stato di Trento e un documento della Marchesa di Pescara datato 1541 dall'archivio di Stato di Roma. ; The present research aim at deepening the genesis of the artistic production of the authors who gravitated around the 'Spiritual Circle' of Viterbo (especially Michelangelo, Sebastiano del Piombo and Marcello Venusti). In particular, the purpose has been to analyze the influence of heterodox doctrines on artists and on their hypothetical 'inspirers', among whom the Marquise of Pescara Vittoria Colonna played a leading role. This influence has been supported by a large part of past criticism, but a more thorough and complete examination of the sources has shown that this view cannot be supported. The research has made use of sources of different nature, collected following three main lines of investigation: the historical one, in order to frame the cultural, political and religious context; the literary one, with the objective of capturing the significant connections in the thought of the involved characters; and that more properly stylistic, iconographic and iconological. To outline the role of Vittoria Colonna within the Circle and her adherence to heterodox doctrines, the acts of the inquisitorial processes in which she was involved were examined, together with those, happened even after her death, containing elements in her defense, such as the depositions of the apostolic protonotary Pietro Carnesecchi, of the Cardinal Giovanni Morone, the Bishop Vittore Soranzo and the Priest Apollonio Merenda. The analysis continued with the examination of heterodox texts, such as the Pianto della Marchesa di Pescara and the sonnets that she wrote in different phases of her life. This is followed by the survey of the artefacts produced for that cultural 'milieu' by Michelangelo (also accused of heterodoxy by historiography although never involved in trials), Marcello Venusti, Pontormo, Giovanni de' Vecchi and above all Sebastiano Luciani, called "del Piombo", who did some portraits of the Marquise. To complete the investigation some unpublished documents dated back to the 1538 relating to Luciani's residential properties, in which, according to ancient sources, he «was walled alive» enjoying the privileges guaranteed by the fixed salary he earned as a piombatore in the Vatican. The transcription of these documents is presented in an appendix, in which are also collected a series of letters addressed by Giovanni Morone to Cristoforo Madruzzo, preserved at the Archivio di Stato di Trento, and a document of the Marquise of Pescara dated 1541 from the Archivio di Stato di Roma.
From a contextual standpoint, an overview is given of the motifs and symbols which form the base of secular lyrics written by tenth- to sixteenth-century government leaders, especially of Britain and Ireland. The poetological, microcontextual, Translation Studies, cultural analysis is made. First of all, selected poems by Elizabeth I Tudor and medieval Irish female poets have been translated into Ukrainian, and anonymous female folk of Scotland is analyzed. The principles of lyrics by Elizabeth I of England and Mary Stuart are compared. Because of the isolation of cultural continuity the lyrics of the latter poet is compared with the work of Scottish female authors in female songs ("waulking songs"). By means of of comparative analysis the problems of gender and the marriage relationship are illustrated by the person of The Wife of Bath (in the Middle English original – "A good wif was ther of biside bathe") ("The Canterbury Tales" by Geoffrey Chaucer) as a typical heroine of her time, a leader and a talented narrator. Her view is compared to the lyrics of queens – those of Ireland (Gormlaith) and Scotland (Mary Stuart). The context of Irish scenes is given. The heroines of these scenes have poetic talent and a right to self-expression. Some examples are: Deirdre, Sin, Scáthach, Fe(i)delm, and real fili Liadaine. The character of Mary Stuart's poetry is analysed, as well as her pattern of governing. Her connection with the Celts is given; however, historical fact shows that the queen had Romance origins, rather than Scottish ones. 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Released in 2014, Wolfenstein: The New Order (MachineGames 2014) was received favorably as a new studio's attempt at redefining the venerable "Wolfenstein" franchise, paying homage to its pivotal role in the birth of the FPS genre (Pinchbeck 2013, 9) while updating gameplay, production values, and sensibilities. Last year's sequel, Wolfenstein II: The New Colossus (MachineGames 2017), however, was met with an unexpected controversy. Alt-Right sympathizers attacked the game on social media (Maiberg 2017) and review-bombed it (Moseman 2017), outraged by its 'political correctness.' Publisher Bethesda foregrounded the games timeliness and topicality (Batchelor 2017), as did the press and independent developers alike (Gaynor 2018) in the context of increasing acceptance of Alt-Right demagogues by right wing mainstream politicians. The games press debated Wolfenstein II: The New Colossus with similar controversy. Seen sometimes as exemplary of what AAA games in 2017 should be doing (Francis 2017) and how they should be doing it (McKeand 2017), others felt that its impact was diminished by the uneven, often farcical tone (A. Robertson 2017) and its lack of realism (E. Smith 2017), while yet others considered its politics nothing more than a plot device (A. Robertson 2017). This presentation will demonstrate that even the appreciators of the game have largely ignored the aesthetic coherence that MachineGames strive for in their ambition to have gameplay and story "pull in the same direction at the same time" (Graft 2014). What appears to critics as flaws of the game that "hold Wolfenstein back from its potential status as the quintessential modern First-Person Shooter" (Brynard 2018) will be shown to be part of an intricate ludo-narrative balance. At the core of this aesthetic are the factors positively commented upon by critics: the diverse cast that is an important factor in what Dyer-Witheford and de Peuter call "games of multitude" (Dyer-Witheford and de Peuter 2009, 188); the archetypal division of roles between characters which as an ensemble "form what most would consider to be some of the key facets of humanity – for better or worse" (J. Robertson 2017); and insights into "the awful Nazi regime's twisted ideology, albeit through a lens of absurdity" (McKeand 2017). This last term, absurdity, is key, as it points toward a stylistic undercurrent also identified in reviews as "grotesque, cathartic, beautiful, horrible and shocking" (A. Smith 2017). Wolfenstein II: The New Colossus is more than "an exercise in deconstructing" (Evans-Thirlwell 2018) its characters and its generic roots. The argument presented here is that The New Colossus is a prototypical example for the use of the carnivalesque as a poetics of defamiliarization for AAA games (Majkowski 2014). What the game sets in scene is nothing less than the death and rebirth of FPS conventions, yet not in a self-serious and obvious grand gesture, but through a series of carnivalesque movements that highlight the ritualistic cycle of death and rebirth (Bakhtin 1984, 164) of genres as a defining constant of digital games (and culture at large). The narrative dimension and the ludic dimension work together in defamiliarizing the comfortable conventions of FPS in a unified carnivalesque aesthetic. The carnivalesque work of art is a liminal contribution to a ritualistic negotiation between parts of a culture. MachineGames take a position within the subculture of gamers, even more specifically, of Western European players and developers of FPS, reacting against the co-option of games by the Alt-Right and the #Gamergate movement – a connection suggested by the game entering production in the summer of 2014, the origin of the #Gamegate movement (Mortensen 2015). The presentation will show through exemplary sequences of the game in the light of Bakhtinian theory how Wolfenstein: The New Colossus reappropriates the surface-level traits of unreflected mainstream game design: a shooter with a white male protagonist killing hundreds of literally faceless enemies. Instead of flirting with ideas of white, male supremacy, the game continuously exposes nazi rhetoric (Casmir 1968) and central values of fascist and supremacist ideology like masculine virility (Spackman 1997) and deconstructs them. While player character B.J. Blazkowicz starts out in the first game as a perfect image of Aryan body ideals, he is on the brink of death throughout most of the second game, a derelict kept alive by machines. When he becomes able-bodied again, it is through grafting his head on a vat-grown Nazi supersoldier-body. His sexuality goes unmentioned after the body-graft, and his decisions are lead by the moral ideal of the dead leader of his resistance cell, Caroline Becker. The carnivalesque aesthetic is most pronounced in the final battle, when Blazkowicz is saved by his pregnant girlfriend Anya by not only single-handedly defeating half a dozen of high-level enemies, but also protecting him from an explosion with her body. Stripped of her burnt clothes, splattered in blood, her face a hollow-cheeked mask reminiscent of a skull, Anya straddles Blaskowicz in an imagery typical of carnivalesque ritual birth (Bakhtin 1984, 126). The gameplay mirror these aesthetic devices of the cut-scenes in exactly the points that critics sometimes perceived as flawed: the awkward stealth mechanics regularly force failure upon the player, evoking a sense of ineptness; putting the avatar in a wheelchair and lowering his maximum health value are constant mechanical reminders of the frailty of the human body; reducing the number of weapons over the previous game, yet allowing the fewer weapons to be freely combined in a procedural rhetoric that exchanges fascist ideals of purity and strength in numbers for strength through diversity. The presentation will primarily demonstrate how many overlooked layers of meaning are present in the careful construction of Wolfenstein II: The New Colossus, and how this contradictory complexity – from the subtitle's hidden allusion to the title or Emma Lazarus' sonnet engraved into the foundations of the statue of liberty, the source of the oft-quoted "Give me your tired, your poor, Your huddled masses" to the end credit's soundtrack of a cover version of Twisted Sister's "We're not gonna take it" – works together as a game specific, carnivalesque meaning-making.
Volume 4: Disbelief and New BeliefsEds. Naomi Hetherington & Clare StainthorpAcknowledgementsIntroductionPart 1. Biblical Criticism1.1 Hebrew Bible Criticism1. 'General Remarks on Mythology and Legendary History' and 'Account of Noah and the Flood', in James Heywood (ed.), Introduction to the Book of Genesis with a Commentary on the Opening Portion, from the German of Dr Peter von Bohlen (London: John Chapman, 1855), vol. 1, pp. 1-8; vol. 2, pp. 107-21.2. Claude Goldsmid Montefiore, 'Preface' and 'Traditions of the Past: Visions of the Future', in The Bible for Home Reading With Comments and Reflections for the Use of Jewish Parents and Children (London: Macmillan, 1896), vol. 1, pp. i-viii, 573-83.1.2 Lives of Jesus3. Thomas Scott, extract from 'The Birth and Early Years of Jesus', in The English Life of Jesus, new edition (London: Thomas Scott, 1872), pp. 31-7. 4. [Edwin Abbott], Philochristus: Memoirs of a Disciple of the Lord (London: Macmillan, 1878), pp. vii-viii, 239-48, 437. 1.3 Egyptology5. Samuel Sharpe, Egyptian Mythology and Egyptian Christianity with Their Influence On The Opinions of Modern Christendom (London: John Russell Smith 1863), pp. vii-x, 10-15, 49-52 6. Harriet Martineau, Eastern Life Past and Present (London: Edward Moxon, 1848), vol. 1, pp. 242-9; vol 3, pp. 69-74. Part 2. Scientific Approaches2.1 Secularisation of wonder7. Robert Lewins, '14th November, 1878' and '17th December, 1878', in Humanism versus Theism; or Solipsism (Egoism) = Atheism. In a series of letters by Robert Lewins M.D. (London: Freethought Publishing Company, 1887), pp. 12-15.8. Constance Naden, 'Entry 117', in Untitled Notebook [1878-79], Birmingham, Cadbury Research Library, USS 115, pp. 46-8.9. Constance Naden, 'Starlight. I' and 'Starlight. II', in Songs and Sonnets of Springtime (London: C. Kegan Paul, 1881), pp. 142-3.10. Constance C. W. Naden, extract from 'The Brain Theory of Mind and Matter', Journal of Science, March 1883; reprinted in Induction and Deduction: A Historical and Critical Sketch of Successive Philosophical Conceptions Respecting the Relations Between Inductive and Deductive Thought and Other Essays (London: Bickers and Son, 1890), pp. 156-66 (p. 164-66)2.2 The Roots of Faith11. Edward Clodd, 'Evolution of Theology', in The Story of Creation: A Plain Account of Evolution (London: Longmans, Green & Co., 1891), pp. 224-8.12. Francis Galton, 'Enthusiasm', in Inquiries into Human Faculty and its Developments (London: Macmillan, 1883), pp. 294-8.13. James Sully, 'A Girl's Religion', Longman's Magazine, May 1890, pp. 89-99.2.3 Changing Minds14. Richard Carlile, extract from An Address to Men of Science (London: R. Carlile, 1821), pp. 6-9, 30-5.15. William Winwood Reade, 'Letter V, VI and XIV', in The Outcast (London: Chatto and Windus, 1875), pp. 83-6, 100-5, 254-62.16. John W. Overton, extract from 'The Poor Man's Preacher', Saul of Mitre Court; being extracts from the papers of Mr Gadshill (Printed for privately circulation, 1879), pp. 197-8.Part 3. Esotericism3.1 Spiritualism17. H. [Anna Mary Howitt], 'On Spiritual Manifestations', 'The Sunshine and Happiness of Spirit Life', and 'Sympathy', in Glimpses of a Brighter Land (London: Baillière, Tindall, and Cox, 1871), 'On Spiritual Manifestations', pp. 1-6, 61-3, 168-9.18. W. T. Stead, 'Borderlanders of the Bible: The Prophet Elijah', Borderland: A Quarterly Review and Index, 1, 2, October 1893, pp. 133-41.19. Alfred Russel Wallace, 'The "Journal of Science" on Spiritualism', Light: A Journal of Psychical, Occult, and Mystical Research, 5, 11 July 1885, pp. 327-8.20. Frederick F. Cook, 'The Harmony of Spiritualism and Science: A Rejoinder to Mr. Alfred Russel Wallace, LL.D.', Light: A Journal of Psychical, Occult, and Mystical Research, 5, 18 July 1885, pp. 339-41.3.2 Theosophy21. H. P. Blavatsky, 'The Fundamental Teaching of Theosophy', in The Key to Theosophy: Being a Clear Exposition, in the Form of Question and Answer, of the Ethics, Science, and Philosophy For The Study of Which The Theosophical Society Has Been Founded (London: Theosophical Publishing Company, 1889), pp. 61-82.22. Libra [Susan E. Gay], 'Womanhood from the Theosophical Point of View', Parts 1 and 2, Shafts, 1, 9, December 1891, pp. 131-2; 1, 10, January 1892, pp. 152-3. 23. Mohini Chatterji, 'On the Higher Aspect of Theosophic Studies', Theosophist, 66, March 1885, pp. 140-4.3.3 Esoteric Christianity24. Anna Kingsford and Edward Maitland, extract from Lecture 7 'The Fall', in The Perfect Way; or, the Finding of Christ (London: Hamilton Adams, 1882), pp. 191-7. 25. Alice Oliphant and Laurence Oliphant, extract from Sympneumata, or Evolutionary Forces Now Active in Man (Edinburgh: Blackwood, 1885), pp. 4-8, 20-30. 26. Marie Corelli [Mary Mackay], 'The Electric Creed'', in The Romance of Two Worlds (London: Bentley, 1886), vol. 2, pp. 121-47. 3.4 New Thought27. Henrietta Frances Lord, extract from Christian Science Healing: Its Principles and Practice (London: George Redway, 1888), pp. 1-3, 375-6.28. Frances Hodgson Burnett, extract from The Dawn of a To-morrow (London: F. Warne, 1907), pp. 98-111.Part 4. Comparative and Universal Religion4.1 Anagārika Dharmapāla and Modern Buddhism 29. T.W. Rhys Davids, 'What Has Buddhism Derived from Christianity?' [1877], Journal of the Pāli Text Society (1923), pp. 37-53.30. Anagārika Dharmapāla, 'Points of Resemblance and Difference Between Christianity and Buddhism', in John Henry Barrows (ed.), The World's Parliament of Religions, 2 vols (Chicago: Parliament Publishing, 1893), vol. 2, pp. 1288-90.4.2 Keshub Chunder Sen and the New Dispensation31. Sophia Dobson Collet, Indian Theism and Its Relation to Christianity (London: Strahan, 1870), pp. 1-31.32. Keshub Chunder Sen, We the Apostles of the New Dispensation (Calcutta: Brahmo Tract Society, 1881), pp. 1-29.4.3 Oswald Simon and the Universal Jewish Theistic Church33. Oswald John Simon, 'The Mission of Judaism', Fortnightly Review, 66 (1896), pp. 577-89.34. H. Adler, Sylvie d'Avigdor, C[laude] G[oldsmid] Montefiore, James Martineau, Anna Swanwick and Charles Voysey, responses to 'The Mission of Judaism', Jewish Quarterly Review, 9 (1897), pp. 184-9, 197-9, 211, 217-19. Part 5. Freethought5.1 Alternative Theisms35. Anon., Deism and Christianity Contrasted (London: M. A. Carlisle, c. 1820).36. Sara S. Hennell, extract from, Present Religion: As a Faith Owning Fellowship with Thought (London: Trübner & Co., 1865), pp. 8-14, 18-9.
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