Suchergebnisse

Thearticle is a response to the criticism of the author's work in the article by Yu.A.Shkuratok and contains both an analysis of her specific comments on the hydronyms Chesnokovka, Serebryanka and toponymic series in ukht-, and an analysis of fundamental methodological differences in the work with toponyms of linguists, geographers and historians. It is emphasized that for historians, the etiology (origin of the phenomenon) is much more important than the etymology (origin of the word)

Citation: Houghton, Winifred A. Ninteenth century criticism. Senior thesis, Kansas State Agricultural College, 1897. ; Morse Department of Special Collections ; Introduction: Criticism does not flourish in great creative epochs, neither do great works come during any great critical epoch; but rather they alternate. In Greece, all the creative force was spent before anything like criticism, in the shape of Aristotle's definitions and canons for tragedy appeared. Upon the Greek works or a basis was founded the first epoch of systematic criticism which the world had seen—the Alexandrian era, as it is called. From this period with the advancing ages criticism has grown and flourished until now it is one of the most important factors in the literary world. Matthew Arnold says that "Real criticism is essentially the exercise of curiosity as to ideas on all subjects, for their own sakes, apart from any practical interest they may serve, it obeys an instinct prompting it to try to know the best that is known and thought in the world, irrespectively of practice, politics, and everything of the kind, and to value knowledge and thought as they approach this best, without the intrusion of any other considerations whatever." This is true of all criticism whether of poetry or of other forms of literature and science.

""Secular criticism" is a term invented by Edward Said to denote, not a theory, but a practice that counters the tendency of much of modern thinking to reach for a transcendentalist comfort zone, the very space philosophy wrested away from religion in the name of modernity. Using this notion as a compass, this book reconfigures the recent secularism debates on an entirely different basis, by showing: 1) how the secular imagination is closely linked to society's radical poiesis, its capacity to imagine and create unprecedented forms of worldly existence; and 2) how the space of the secular animates the desire for a radical democratic politics that overturns inherited modes of subjugation, whether religious or secularist. Indeed, the point is to disrupt the co-dependent relation between the religious and the secular--hence, the rejection of fashionable languages of post-secularism--in order to engage in a double critique against heteronomous politics of all kinds. For Gourgouris, secular criticism is a form of political being, critical, anti-foundational, disobedient, anarchic, yet not negative for negation's sake, but creative of new forms of collective reflection, interrogation, and action, which alter not only the current terrain of dominant politics but the very self-conceptualization of what it means to be human. Written in free and combative style, as was the demand of the Sydney Library Lectures to "think out loud," and given both to close readings of texts and examinations of the broad horizon, these essays cover a range of issues, historical and philosophical, archaic and contemporary, literary and political that ultimately converge on the significance of contemporary radical politics--the assembly movements we have seen in various parts of the world in the last couple of years. The secular imagination demands a radical pedagogy and a great deal of unlearning established thought patterns. Its most important dimension is not battling religion per se, but dismantling theological politics of sovereignty in favor of creating radical conditions for social autonomy"--

I am grateful to Professor Wand for devoting so much space to my "conceptual apparatus." I should have been more grateful if he had got it more nearly right. His criticism of my concepts, particularly of the central concept of powers, is so wide of the mark that one wonders about his concept of criticism. The puzzle is how he can pronounce with such assurance his "grave charges" that my thought is confused and misleading. The answer I shall suggest is partly (a) that he has not paid attention to my definitions, and partly (b) that he has tried to fit my argument into a conceptual framework – his own – which he assumes has some absolute validity. Perhaps (b) accounts for (a): he was perhaps unable to read what I wrote because it does not fit his conceptual scheme. Let me take in reverse order his criticisms of the three concepts he deals with.

Long-standing wisdom holds that criticism is antithetical to effective brainstorming because it incites intragroup conflict. However, a number of recent studies have challenged this assumption, suggesting that criticism might actually enhance creativity in brainstorming by fostering divergent thinking. Our paper reconciles these perspectives with new theory and a multimethod investigation to explain when and why criticism promotes creativity in brainstorming. We propose that a cooperative social context allows criticism to be construed positively, spurring creativity without inciting intragroup conflict, whereas a competitive social context makes criticism more divisive, leading to intragroup conflict and a corresponding reduction in creativity. We found support for this theory from a field experiment involving 100 group brainstorming sessions with actual stakeholders in a controversial urban planning project. In a cooperative context, instructions encouraging criticism yielded more ideas and more creative ideas, whereas in a competitive context, encouraging criticism yielded fewer ideas and less creative ideas. We replicated this finding in a laboratory study involving brainstorming in the context of a union-management negotiation scenario, which allowed us to hold constant the nature of the criticism. Taken together, our findings suggest that the optimal context for creativity in brainstorming is a cooperative one in which criticism occurs but is interpreted constructively because the brainstorming parties perceive their goals as aligned.

The world of theatre criticism is rapidly changing in its form, function and modes of operation in the twenty-first century. The dominance of the internet has led to a growing trend of selfappointed theatre critics and bloggers who are changing the focus and purpose of the discussion around live performance. Even though the blogosphere has garnered suspicion and hostility from some mainstream newspaper critics, it has also provided significant intellectual and ideological challenges to the increasingly conservative profile of the professional critic. This book features 16 commissioned contributions from scholars, arts journalists and bloggers, as well as a small selection of innovative critical practice. Authors from Australia, Canada, Croatia, Germany, Greece, Italy, Latvia, Russia, the UK and the US share their perspectives on relevant historical, theoretical and political contexts influencing the development of the discipline, as well as specific aspects of the contemporary practices and genres of theatre criticism. The book features an introductory essay by its editor, Duška Radosavljevic.

The aim of the study was to investigate the texts in the sixth-grade Turkish textbook published by the Ministry of National Education Publishing House for the 2018-2019 academic year, which provide the basis for criticism. The data were collected through document analysis, which is a qualitative research method. The analysis results showed that the texts that provide the basis for criticism are subsumed under each theme. The elements that form the basis for criticism and seem to contribute to analytical thinking and expression were identified in the following components of the book: in the texts "This Is My Story", "I Am Looking For", and "My Dear Library" under the theme of Reading Culture and the activities of these texts; in the activity questions of the texts "Courage of the Turkish Soldier" and "July 15" and in a dialogue in the text "Old Granny" under the theme of the National Struggle and Atatürk; in the texts "Aziz Sancar", "How Did People Use to Measure Time?", and "Technology Addiction" under the theme of Science and Technology and the activities of these texts; throughout the text "Giving is Gaining" and in an activity of the text "Silver Wing" under the theme of Virtues; in the texts "What We Wonder", "Afyon" and "Water Pollution" under the theme of Nature and the Universe and the activities of these texts; in the texts "Anatolia" and "the Story of Tarhana" under the theme of Our National Culture; in an activity of the texts "Time to Bicycle" and "10 Questions about Obesity" and in the text "Eating, Drinking and Digesting" and an activity of the text under the theme of Health and Sport; and in the texts "Yes Sir/Madam", "Do a Favour" and "On Friendship" under the theme of Individual and Society and the activities of these texts. Keywords: Criticism, Turkish Textbooks, Analytical Thinking, Literature, Education.