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Periodization of American Comic Book – A New Proposal The article aims to present a new proposal for the periodization of the history of American comic books. The introduction deals with the problems of other propositions: the academic one created by Arthur Asa Berger and the so-called Olympic / Mainstream that is mainly used by industry artists and readers. The most critical short comings of these periodization are also listed, including them being outdated. The new proposal complements the deficiencies of the previous two: in its actuality, it focuses on the transformations of the comics genre caused by the socio-political implications of the events of September 11, 2001. Each epoch was given specific time frames, cut-off dates, events, and characteristics.

The article is devoted to the discussion of the problem of periodization and the study of the features of the late stage of the work of the outstanding American prose writer Francis Bret Hart (1836—1902). The relevance of the article is due to the need to build a coherent and consistent history of the development of American literature at the turn of the 19th and 20th centuries, an important part of which is the writer’s prose heritage. The authors comprehend Western (J. Stewart, G. Scharnhorst, A. Nissen and others) and domestic (A. V. Vaschenko, L. P. Grossman, P. E. Schegolev, A. I. Startsev, V. A. Libman, E. Yu. Rogonova, A. B. Tanaseichuk) studies on biography and various aspects of the prose writer. The scientific novelty of the work lies in the fact that for the first time in American studies a gap in the reception of F. Bret Hart's work was filled (the absence of clear criteria for periodization); the tradition of a disdainful attitude to the European period of his work, established in American literary criticism, is refuted, in particular, it is proved that in the stories and novels of the 1880s and 1890s Bret Hart boldly goes beyond the usual themes and images: the “Californian theme”, traditional for his early prose, takes on a new dimension — in the aspect of understanding national and gender psychology (“Maruga”); amorous and melodramatic collisions are combined with an appeal to science fiction (“The Secret of the Hacienda”).

Scholars have rightly questioned the periodization of early modern Hindi literature (fourteenth to mid-nineteenth century) into two major thematic and temporal categories, often described as binaries: an early bhaktikāl (era of devotion), and the later rītikāl (era of mannerism). It is now common to understand bhakti and rīti as complementary modes of poetic expression rather than oppositional styles that poets had to identify with entirely. This paper uses the perspective of poet-saints (sants) to argue that, although the sants share many features with the rīti poets in terms of genres and register, they diverge fundamentally from them on the topic of the proper motives of composing verse. The criticism that the sants register with selected rīti themes – conflicts which would later figure in the writings of Hindi literary historians in the nationalist era – can be seen as anticipating the modern bhakti versus rīti distinction.

The purpose of the research: to show the character, features, dynamics of the development of Ukrainian discourse on the choice of the Cyrillic or Latin alphabets as an alphabetical system for the formation of Ukrainian literary language in Galicia in the 30s of the XIXth – early XXth centuries through the prism of unfolding its two main stages. The research methodology is based on the principles of scientific knowledge, objectivity, historicism and general scientific (analysis, synthesis, comparison) and special-historical methods (historical-genetic, periodization, historical-systemic, historical-typological). The research novelty is the systematic reconstruction of the unfolding of public discourse on the choice of the alphabetical system of Cyrillic or Latin for the formation of Ukrainian literary language in Galicia; substantiation of the periodization of this process, which is manifested in the personification and display of its essence, nature, tendencies, features at two stages of development: the first, covering the 30s – 50s of the nineteenth century and consists of two phases separating the “Spring of the Peoples” in 1848 and the second, which dates to the 60s of the nineteenth – the beginning of the twentieth centuries when a substantive understanding of the phenomenon of “alphabet wars” began, which appeared in the emergence of a number of source and analytical studies, which greatly influenced the further study of this problem. The Conclusions. Thus, the social discourse in Galicia in the 1830s – early XXth centuries according the choice of an alphabet system – Cyrillic or Latin – for codification of the Ukrainian literary language is a distinctive phenomenon in the history of the culture of the Ukrainian people and the formation of its literary language. Each party had its own compelling arguments, so there was no perfect solution to the problem. Supporters of the Cyrillic alphabet argued that it was a symbol of Ukrainian identity, and its replacement with Latin would lead to a split in the Ukrainian movement, enhance its polonization, slow down the development of national culture, and not bring Ukrainian literary language closer to European one. Latin adherents were correct in arguing that it more accurately conveyed the features of the Ukrainian vernacular in writing, and that Church Slavonicisms in Cyrillic prevented the formation of Ukrainian literary language on a lively national basis. The alphabetical discourse became an important factor in the development of the Ukrainian national social movement and a marker of the ideological orientations of its participants.

After the ‘Post-Sixties’: A Cultural History of Utopia in the United States is an historical inquiry into the cultures of utopian thought and practice. Consisting of three multi-chapter sections, this cultural history unfolds as an account of utopian, anti-utopian, and dystopian imagination through different periodizations. Each section attempts to extend Fredric Jameson’s 1984 essay “Periodizing the 60s” to a history of the present period, developing a historical framework for understanding the politics of utopia. The last section of this dissertation deals with utopia and dystopia as cultural tendencies in the historical imagination of the 2007-2008 financial crisis and the global explosion of social movements and uprisings that extended from the Movement of Squares in the North Africa, the Middle East, and parts of the Mediterranean, to the Occupy Wall Street encampments in the United States. The first section builds toward this account of the contemporary period, through a series of analyses of literature, film, subcultures, music, architectures, and historical phenomena that engage with communalist, feminist, punk, anti-colonial, and anti-capitalist articulations of ‘utopia.’ The second section examines the recuperation of countercultural utopianism in post-1960s history of tech corporations and creative industries in the United States. In constructing a periodization of the end of the post-sixties, this cultural history considers various shifts and mutations in the political imaginary of neoliberalism, and takes up utopia as an epistemological problematic of contemporary global capitalism. The project concludes tentatively and with futurity, insisting on the correspondence between utopian imagination, historical experience, and revolutionary possibility.

Can literary history be done without the conventional reliance on linear periodization? What might a literary history of modernism look like without the usual periodization of roughly 1890–1940? This essay reviews the arguments for and against periodization and then argues that the new time studies—based in nonlinear concepts of time for the study of the contemporary—offers alternatives to the Eurocentric periodization of modernism. These new temporalities were anticipated by early twentieth-century Euro-American modernism, presented in the essay with an account of the dramatic debate between Albert Einstein and Henri Bergson in 1922 and a discussion of Virginia Woolf’s experiments with the relationality of space and time in her fiction. Multidimensional, layered, and disjunctive concepts of time are better suited for the study of planetary modernisms that incorporate the colonial and postcolonial modernities. Kabe Wilson’s multimedia installation based on a remix of A Room of One’s Own and selected criticism on modernism are used to illustrate alternatives to linear periodization.

The article deals with Plamen Doynovʼs idea of the poetic generations during the time of the socialism. There are the connections between the administrative power and the poets, between the ideological directives and the poetry as an autonomous area. The author suggests the idea of the periodization within poetry during the socialism.

La littérature d’anticipation, dans ses propositions de futurs imaginaires, recourt de façon prononcée au concept d’époque caractéristique de la discipline historienne. Quels que soient les avenirs envisagés pour l’humanité et les conceptions de l’histoire qu’ils révèlent – et qui sont ici thématisées (cyclique, régressive, progressive…) –, les auteurs d’anticipation les déploient dans des périodes aux dénominations précises et souvent éloquentes. Cet article met en perspective un choix de romans de science-fiction anglo-saxons et des réflexions historiographiques afin d’explorer la nature de cet usage non historien du concept d’époque, dans lequel affleurent des modalités spécifiques d’appréhension et d’écriture de l’histoire. Futuristic fiction relies strongly on the concept of the “epoch” when authors in the genre imagine a hypothetical future. This concept has been theorised, developed and applied by historians throughout modern times. By analysing these fictional epochs, the names given to them and how they are constructed, this article studies how SF writers have envisaged the future of mankind and explores the characteristic conceptions of history they developed (progressive, regressive, cyclical, etc.). It is based on a selection of American and British science-fiction novels and historiographical theories. Its aim is to explore the nature of this non-historian use of the concept of epoch, which involves specific ways of interpreting and writing history.

Publié en 1977, le texte de Joan Kelly « Did women have a Renaissance ? » proposait non seulement d’intégrer les femmes au récit historique à partir d’une relecture de sources historiques bien connues mais aussi de revoir le découpage canonique entre un Moyen Âge obscur et une lumineuse Renaissance. En s’appuyant sur un corpus d’œuvres appartenant à la littérature courtoise et aux traités de cour du xvie siècle, l’auteure avançait la thèse que la femme de cour de la Renaissance avait perdu du pouvoir et de l’autonomie par rapport à la dame du Moyen Âge. Le texte tire sa force et son charme du fait qu’il revisite les mythes de la périodisation à l’aune de l’histoire des femmes. Mais son approche foisonnante pèche aussi par son manque de rigueur et ses approximations. La remise en cause des thèses de Joan Kelly dans les décennies qui ont suivi ont donné lieu à de riches débats historiographiques. Published in 1977, Joan Kelly’s article “Did women have a Renaissance?” was intended not only to make room for women’s history within the larger historical narrative by revisiting existing sources, but also to challenge the conventional historical divide between the so-called Dark Ages and the enlightened Renaissance. Drawing on a corpus of works of courtly love literature and 16th century court treatises, the author argued that the Renaissance noblewoman had lost power and autonomy in relation to the medieval lady. Kelly’s argument drew its power and appeal from its revisiting of the myths of periodisation through the lens of women’s history. But her daring approach also lacked rigour and precision. The discussion of Kelly’s ideas in the ensuing decades has sparked lively historiographical debate.

This article offers a periodization of Nom history. The criteria established in this study include those aspects of grammatology, linguistics (historical phonetics), textology, the interaction betw...

This essay engages the methodological problem of medieval/modern periodization through study of political prophecy, a literary genre in which distant and recent historical experience mixes with imagined futures. To the question ‘Was English political prophecy medieval or modern?’ no answer can be given. The written tradition of political prophecy straddles the centuries now designated as medieval and modern. Public and governmental interest in prophecy peaked in the first half of the sixteenth century, the period of English literary history served most poorly by the medieval/modern periodization. The first section of the essay summarizes the generic, linguistic, codicological, political, and social dimensions of English political prophecy. The second section identifies points of contact between the field of political prophecy and the problem of modernity.

International audience; Polyphony and the Modern asks one fundamental question: what does it mean to be modern in one’s own time? To answer that question, this volume focuses on polyphony as an index of modernity.In The Principle of Hope, Ernst Bloch showed that each moment in time is potentially fractured: people living in the same country can effectively live in different centuries – some making their alliances with the past and others betting on the future – but all of them, at least technically, enclosed in the temporal moment. But can a claim of modernity also mean something more ambitious? Can an artist, by accident or design, escape the limits of his or her own time, and somehow precociously embody the outlook of a subsequent age?This book sees polyphony as a bridge providing a terminology and a stylistic practice by which the period barrier between Medieval and Early Modern can be breached.Chapter 1 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at https://www.taylorfrancis.com/books/edit/10.4324/9781003129837

In the 20th century AD, the writing of the Qur'anic tafsir that was born in the archipelago generally displayed its modern characteristics, both in terms of language and script. However, it is different from the Tafsīr Tūjuh Sūrah manuscript written in 1935 AD and the Tafsīr Āyāt aṣ-Ṣiyām manuscript which was written in 1936 AD by Muhammad Basiuni Imran, a scholar from the Sambas Sultanate, West Kalimantan, who still uses the language and script of classical interpretations of the archipelago, namely using the Malay language and the Jawi script. Therefore, it is urgent to study because of the polemic in terms of the emergence of interpretations, so a comprehensive way to understand the two interpretations of Muhammad B asiuni Imran is to use a codicological and historical-periodic approach. The results of this study indicate that first, the codicological aspects of the two interpretations of Muhammad B asiuni Imran manuscripts, including the identification of texts, aspects of books, aspects of writing and binding. Second, the emergence of the two interpretations of Muhammad B as i uni Imran in the 20th century AD in the form of the Malay-Jawi language, because it was born in the golden period (1920-1960 AD) in the periodization of the development of the al-Qur'an interpretation of the Malay-Jawi language. Third, the context of the emergence of the two interpretations of Muhammad B asiuni Imran in the Malay-Jawi language because they are influenced by socio-geographic, the history of the developing books and religious conditions.

The Arabic literary tradition is a long one, stretching back to undocumented beginnings in the Arabian Peninsula in the pre-Islamic (pre-7th century) era. The study of that heritage in Western academe began as a subset of the philological traditions of biblical and ancient Near Eastern scholarship, with their primary focus on the preparation of textual editions, compendia, dictionaries, and translations into European languages. In the specific context of studies devoted to the Arabic literary tradition, the study of the Qurʾān set the stage for the emergence of similar philological approaches to the variety of literary generic categories created within the increasingly widespread Arabic-speaking Islamic communities. The shift from the more philological approach to that of a more theoretically founded discipline of Arabic literature studies is a gradual one. Terry Eagleton notes (Literary Theory, 1983) that the discipline of literature studies—involving the interpretation of literary materials and their theorization—traces its beginnings to the early decades of the 20th century. In the case of the Arabic literary tradition, the shift can be traced to the second half of the same century, and as the result of a number of factors. In the Arabic-speaking regions themselves (in President Jamāl ʿAbd al-Nāṣir [Gamal Abdel Nasser] of Egypt’s terms, “from the [Atlantic] Ocean to the [Persian / Arabian] Gulf), changes in regimes led to the emergence of new political and social configurations, duly reflected in literary production. In the anglophone Western academic context, a consideration of the consequences of World War II led the governments of both the United States and Britain to establish commissions that led to the fostering of new approaches to the study of the regions of West Asia and North Africa and to the provision of funding for the creation of new centers and programs devoted to the modern period (however that was to be defined). Among the consequences of these new emphases was the need to offer instruction in the modern Arabic language and its dialects, thus providing students with skills that enabled them to avail themselves of opportunities to study at institutions in the Arabic-speaking world and to engage with Arab littérateurs and critics. The results of these various trends in Arabic literature studies during the second half of the 20th century and into the 21st, including the development of increasingly close affiliations with comparative literature studies, have shown themselves in a number of ways. As new centers of literary activity have emerged in different parts of the Arabic-speaking region (with the Gulf States as a primary example) and as Arab littérateurs have explored fresh genres and modes of expression (including media of a wide variety often expressed in colloquial dialect), so has literature scholarship set itself to apply new theoretical and critical approaches to the rapidly expanding publication sector. With the theorization of the discipline has come the need for a greater focus on individual genres, regions, and critical approaches and a concomitant move away from attempts to subsume “Arabic literature” under a single rubric. Such studies are not only opening up new avenues of inquiry, but are also demanding a re-examination of some of the principles and parameters governing the composition of Arabic literary history, both modern and premodern.

The article deals with the theme of power in the works of Alexander Bashlachev. First and foremost, it concerns the images of “bloody rulers”: Stalin and Napoleon. “Stalin text” is implemented in the cycle of “Songs in a whisper”. In these works, Vysotsky’s influence is felt, which Bashlachev probably inherits his antitotalitarian pathos from. For Bashlachev the phenomenon of power is associated with the theme of death and the infernal world. This tendency is most fully implemented in the song “The Absolute Janitor”, where Stalin is represented as a part of the impersonal force from the beyound, its “guardian”. The image of Napoleon is considered on the material of the song “Griboedovsky Waltz”. In addition, the article offers the periodization of Bashlachev’s works. The authors distinguish five stages: early poems, early songs, songs of the “Russian cycle”, the “ontological” stage and the fifth stage, in the center of which there are experiments with lexical consonances and searches in the field of etymology. The third (“Russian”) period is full of lyrical thoughts about the nature of power more than any other.

The article for the fi rst time attempts to introduce into the Russian cultural circulation the creative heritage of V.B. Sven, whose 120th anniversary of birth was celebrated in 2017. This writer of the second wave of Russian emigration is now almost unknown in homeland. His works, however, deserve to be noticed by Russian readers and researchers. Firstly, V.B. Sven’s works, due to their high artistic level, are an integral part of Russian culture. Secondly, the writer refl ected in his literature a number of interesting historical and cultural phenomena, characteristic of the era he wrote about. A literary analysis of V.B. Sven’s works is given in correlation with his unusual biography. Many facts from the writer’s life are refl ected only in sources diffi cult to access; they are presented to a wide audience in this work for the fi rst time. The article considers the specifi cs of V.B. Sven’s creative style in the evolutionary development. The article develops a periodization of the literary array created by the writer and justifi es the conditionality of its division into periods. It shows the infl uence of M.M. Prishvin on the work of V.B. Sven, determines the place of the writer in the emigrant literature, analyzes the reviews of his works written by his contemporary critics-emigrants. Much attention is paid to the artistic innovation of V.B. Sven, his experiments in the fi eld of artistic form, inherent in later works. The article highlights the mystical element in the worldview and, accordingly, in works of the writer, and the specifi c cultural phenomenon closely associated with it — Miklashevsky’s “system”, which became the content and structural center of one of his works. The article distinguishes between the diffi culty of seeing any V.B. Sven’s lifetime printed publications, on the one hand, and the availability of texts of his works in digitized form, on the other. There is emphasized the importance, in a situation like this, of information about the existence of the works, about their merits and accessibility. The references to the article include a list of sites where the main works of the author can be found.

In the late 1950s and early 1960s in Shanghai, the remnant ofwenmingxi(civilized drama), China's first form of Western-style spoken drama, which had flourished in the 1900s and 1910s as a hybrid of Western spoken theatre and indigenous performance, experienced a brief resurrection and ultimate demise under the name oftongsu huaju(popular spoken drama). Considered until then as popular entertainment inferior to the officially recognized form of modern theatre,huaju(spoken drama), that adhered to Western realistic dramaturgy and performance,tongsu huajustaged a six-play festival in January 1957 thanks to liberal art policies, received a warm welcome in Beijing and other cities, and attracted the attention of somehuajuexperts who praised its affinity to indigenous performance, thus triggering a debate over its efficacy as a localized alternative tohuajufor the future of modern Chinese theatre. Using contemporary sources, this article examinestongsu huaju’s brief rise and fall in Shanghai, with a focus on its performances, the debate, the policy changes that decided the fate of China's first form of modern theatre, and the implications of its fate for the narrative of periodization in modern Asian theatre.

In this essay, Arabic literature specialist and Arabic-English translator Elliott Colla explores the relationship between the novel and the nation, and reviews Bashir Abu-Manneh9s ambitious and original contribution to the study of Palestinian literature.

This paper examines the ways in which Arabic literature has been introduced into world literature anthologies. Taking The Longman Anthology of World Literature as a case study, the paper questions the politics of the inclusions and exclusions of Arabic literature in the anthology. Pertinent to the discussion is to ponder the nature of Arabic literature that “makes it” into the anthology. In addition, the paper will demonstrate how the anthology in fact obscures, rather than illuminates, major historical trajectories of Arabic literature. The complexity of Arabic literature, its highly self-reflexive texts, and its internal developments throughout history beg for a different approach that, I argue, this world literature anthology is lacking. Equally significant, The Longman recycles several common orientalist clichés about Arabic literature, the most important of which is that there is no Arabic literature worthy of inclusion in the three volumes of the anthology spanning the thirteenth-nineteenth centuries. As for the pieces that are included, the paper will reflect on the size and space they are offered, arguing that these are not arbitrary choices, but rather indicative of how a non-Western literary tradition is appropriated into a world literature anthology.

Заслужујући своју проверу на представи о важности просветитељства у српској књижевности, теорија књижевне историје може да се креће и у оквирима поређења ставова Јована Скерлића и Павла Поповића у вези с овом епохом, у којој се Доситеј Обрадовић често јављао као централна стваралачка фигура; поготову је такво поређење добродошло, будући да су обојица француски ђаци и обојица у готово исто време пишу своје виђење историје српске књижевности. Обојица се потом, веома занимају за Доситeја Обрадовића. Заједнички им је и став о томе како просветитељство прекида са средњовековном традицијом. Док се, међутим, Јован Скерлић питао о томе колико је 18. век међашни, за Павла Поповића је књижевноисторијско разумевање текло праволинијски, тј. Скерлићу је књижевноисторијско виђење засновано на Доситеју као деконструкту таквог мита, а Павлу Поповићу – на миту о југословенству. Кад се ипак увежу обе ове концепције, показало би се како просветитељство није на међи, већ у центру поетике периодизације. Тек тада би се добило ново разумевање о томе како функционише национална књижевност, па се из каузалног прелази у функционалан однос, у којем народна књижевност и литература српског просветитљства ткају мрежу међуодноса и стварају ново виђење периодизације као поетике традиције, у којој књижевна дела различитих епоха нису супротстављена, већ им стил, књижевни поступак и слично само добијају друкчију функцију. Indem sie ihre Überprüfung auf Grund ihrer Auffassung von der Wichtigkeit der Aufklärung in der serbischen Literatur verdient, kann sich die Theorie der Literaturgeschichte auch im Rahmen des Vergleichs der Auffassungen von Jovan Skerlić und Pavle Popović hinsichtlich dieser Epoche bewegen, in welcher Dositej Obradović häufig als zentrale schaffende Figur erscheint; dieser Vergleich ist vor allem deswegen willkommen, weil beide französische Schüler waren, und beide haben fast zur gleichen Zeit ihre Sicht von der Geschichte der serbischen Literatur aufgezeichnet. Und beide haben sich später sehr für Dositej Obradović interessiert. Sie hatten auch die gemeinsame Auffassung, dass die Aufklärung mit der mittelalterlichen Tradition bricht. Während sich jedoch Jovan Skerlić die Frage stellte, inwieweit die Aufklärung einen Scheidepunkt darstellt, verlief für Pavle Popović das literaturhistorische Verständnis gradlinig, d. h. bei Skerlić basiert die literaturhistorische Auffassung auf Dositej Obradović als Dekonstrukt eines solchen Mythos, und bei Pavle Popović – auf dem Mythos vom Jugoslawentum. Wenn man aber diese zwei Konzeptionen verbindet, würde sich zeigen, dass sich die Aufklärung nicht am Scheidepunkt sondern im Mittelpunkt der Poetik der Periodisierung befindet. Erst dann würde man zu einem neuen Verständnis davon kommen, wie die nationale Literatur funktioniert, so dass man von der kausalen zur funktionalen Beziehung übergeht, in welcher die Volksliteratur und die Literatur der serbischen Aufklärung ein Netz von gegenseitigen Beziehungen flechten, und sie schaffen eine neue Sichtweise auf die Periodisierung – als Poetik der Tradition, in welcher literarische Werke aus verschiedenen Epochen nicht antagonistisch einander gegenüberstehen, sondern ihr Stil, ihr literarisches Verfahren u. Ä. erhalten nur eine verschiedenartige Funktion. Man kann es auch so ausdrücken: ausgehend von den richtigen literaturhistorischen Auffassungen in der serbischen Wissenschaft – hier repräsentiert durch Pavle Popović und Jovan Skerlić – wäre die Dreiteilung der Zeit gewahrt (Vergangenheit, Gegenwart, Zukunft), aber durch die Anlehnung an die Poetik des Knotenpunktes von Dositej Obradović, ausgedrückt in der Volkssprache, gleichzeitig auch durch den Dialog mit den Epochen, würden verschiedenartige, dynamisch geschaffenene Stile ausgedrückt werden. Научни скупови / Српска академија наука и уметности ; књ. 178. Одељење језика и књижевности ; књ. 31

The year without a summer inaugurates Lord Byron’s life of scandalous exile after The Separation, as well as his catastrophist oeuvre: Darkness (1816), which is a prelude to the more sophisticated catastrophism of Cain (1821), itself the belated prequel of Manfred (1817) (‘My Magician’ and ‘the best of my misbegotten’). The year 1816 is one of brilliant misbegottens, electrifying writing of superb cosmic vision and scientific imagination, which engages with futures past and the relativity of time. This chapter explores how Byron’s magical catastrophist writing mediates emotional and social catastrophe. The chapter then moves to the Hampshire countryside, and Jane Austen’s drafting of Persuasion—stalled under the black star of Henry Austen’s bankruptcy in the spring of 1816—to consider financial ruin as another apocalyptic turn that informs 1816 as the perfect storm of Romantic catastrophes. From here the question of connections between Austen and Byron are revisited—a recurring site of magical thinking in Romantic literary history—to engage broader questions about literary studies and periodization, in relation to the rethinking of space-time relations that catastrophism inspires.

This article focuses on periodization in ancient art history, on aesthetic notions and judgments in ancient literary sources, and on the creation of the modern stylistic and cultural classification of the Severe Style period. Conventionally, this stylistic phase spans from ca. 480 to 450 B.C.E. and is generally associated with a new style adopted by artists soon after the Persian Wars and with the sculptural group of the Tyrannicides by Kritios and Nesiotes. This investigation provides an overview of the artistic production by Kritios and Nesiotes and analysis of signed monuments from the Athenian Acropolis; an examination of literary sources concerning Kritios and Nesiotes and aesthetic judgments regarding Late Archaic artists and their works in Greek and Latin sources from the end of the fourth century to the Early Imperial period; and an exploration of the modern meaning of the Greek and Latin words skleros and durus (“rigid, motionless, stiff” rather than “severe”). I propose that it is not possible to distinguish such a “Severe Style period,” since technical and stylistic improvements are detectable on statues dating from before 480 B.C.E., and that a paradigm of continuity, as suggested by ancient literary sources and archaeological evidence, is preferable to a clear-cut division of artistic periods and styles.

Овај рад тематизује питања периодизације српске књижевности, стављајући у први план онај период који дели стару од нове књижевне епохе. У утврђивању прелазног стања и иновација, у раду се, уз књижевне токове, разматра и удео језика и културе у еволутивним процесима. При томе се имају у виду доприноси које су расправи о том веома важном теоријском, још више књижевноисторијском питању дали Јован Скерлић, Љубомир Стојановић и Павле Поповић. Questions of separating old literature from the new one are very complex, so they are approached from various aspects and there are various outcomes. Starting from ideas, culture and literature itself, Skerlić finds that it was Dositej who created and overturn in spirits and who was founder of the new literary creation. Ljubomir Stojanović starts from language, which makes Vuk Karadžić the spirit of revival. Pavle Popović values both the ideas, meaning Dositej, and language, meaning Vuk Karadžić. That is why the key aporia might be resolved with conclusion that Dositej initiated the new Serbian literature, and Vuk provided its foundations on vernacular language and national spirit. Научни скупови / Српска академија наука и уметности ; књ. 178. Одељење језика и књижевности ; књ. 31

This essay positions the figure and thought of T.W. Adorno in relation to Mulk Raj Anand, and the latter’s foundational contributions to the modern Indian novel in English. In Adorno’s musical writings, “late style” features as a methodological premise, or an expository mode that removes the work from conventional norms of evaluation (including periodization, biography and context). Late style is directed especially toward canonized works that seem to lack current artistic or social relevance, despite their culturally privileged standing. The essay approaches Adorno and Anand, accordingly: Their affiliations with European modernism and postcolonial realism, respectively, are read in late style, or, as largely obsoleted formations of the previous century. Focussing on Anand’s historical fiction, Across the Black Waters (1936), my essay recuperates the novel’s vision of a single if internally differentiated twentieth-century: By imagining the Great War as world-historical crisis, Anand’s novel stage...