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Reprinted in part from various periodicals. ; --Nietzsche.--W. H. Hudson's "Nature books."--Tchehov and his art.-- Ibsen and the English.--Mr. Joseph Conrad.--Mr. C. M. Doughty.-- Ostrovsky's "The storm."--Mr. D. H. Lawrence and the moralists.--Richard Jefferies' "Amaryllis at the fair."--Henry Lawson and the democracy.--Sarah Orne Jewett's tales.--Stephen Crane and his work.--Robert Frost's "North of Boston."--Some remarks on English and American fiction.--American criticism and fiction.--Critical notes on American poets.--Two american novelists.--The contemporary critic. ; Mode of access: Internet.

The article presents the aesthetic and ideological concept of liberal criticism, which was expressed by a leading Galician critic, literary scholar, journalist and cultural figure of the interwar period Mykhailo Rudnytsky. His main scientific works were interpreted as a kind of postulate of "worldlessness" and "liberal criticism" focused on Western European intellectual models. Much of Rudnytsky's publications were written in the ideological vein of a resonant discussion, provoked by the critic and formulated by him under the slogan "Should a writer have a worldview?". In this discussion, M. Rudnytsky argued that it is not important for a writer to have a worldview. The main thing is the aesthetic criterion, which should also be decisive in the literary-critical evaluation of the writer's work. This thesis was quite ambiguous and controversial, as it sharply contradicted the general tendencies of the Galician society of that time. So the discussion provoked a polemical wave. The literary liberalism focused on issues of pure art, the search of Beauty, a kind of aesthetic ideal, non-involvement in politics, the predominance of form and style over content and ideas – founded in the Galician cultural environment of the interwar period more resistance than support. In anticipation of war, amid economic and political instability, in conditions of statelessness, the rejection of any ideology in Ukrainian society was interpreted as an ethical danger, ideological and political nihilism. Article focused also on the scientific and aesthetic problems of Rudnytsky's literary-critical scientific creativity, the specific eclectic stylistics of his works, the influence of the aesthetics and ideology of the Moloda Muza (Young Muse) group and modernism of 19 century on his philosophy and literary theory, the common and different in scientific theories of Mykhailo Rudnytsky and the Polish critic and literary theorist Ostap Ortwin, the cultural europocentrism of literary-critical assessments of Mykhailo Rudnytsky, reception of his ...

Considers how 1920s-1930s Marxist critics dealt with three central literary problems: (1) the relation of form to content; (2) the relation of literature to history; & (3) the relation of an author's ideology to his or her creative work. It is observed that early Marxists took a number of diverse approaches to the issue of form & content, contradicting the conventional criticism that Marxism of the period was inappropriately economistic. However, it is shown that, despite these varied approaches, nearly all saw that a deep understanding of history was essential for any great literature. It is found that these Marxists were able to uncover oppositional beliefs in the literature they examined, although authors experienced difficulty in discerning their own ideological positioning. It is concluded that contemporary Marxist literary critics may take from these earlier scholars the necessity of a deep understanding of history & their consciousness of social forces in the making of art & its significance. D. M. Smith