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Journal articles on the topic 'Allegoria moderna'

Author: Grafiati

Published: 10 March 2023

Last updated: 31 July 2025

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1

Álvarez sj, Carlos. "Del Corpus (mysticum) a La fábula (mística). Continuidades y rupturas entre Henri de Lubac y Michel de Certeau." Teología y Vida 64, no. 2 (2023): 143–70. http://dx.doi.org/10.7764/tyv642.e1.

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La presente contribución indaga una dimensión de la intensa y compleja relación intelectual entre Henri de Lubac y Michel de Certeau, graficada en el paso del Corpus Mysticum a La fábula mística. En particular nos detenemos en una arista del proyecto intelectual de Lubac que busca desempolvar las potencialidades de la simbólica medieval para contrarrestar las nefastas derivas de la racionalidad moderna. Dicho proyecto se inspira en una ontología sacramental y en la centralidad de la allegoria in factis, heredada del pensamiento de los Padres de la Iglesia. La reflexión que realiza Certeau en L

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Crisp, Peter. "The Pilgrim’s Progress: Allegory or novel?" Language and Literature: International Journal of Stylistics 21, no. 4 (2012): 328–44. http://dx.doi.org/10.1177/0963947012444953.

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A tradition going back to Coleridge asserts that The Pilgrim’s Progress is not a true allegory but rather a proto-novel expressive of early modern individualism. The work is radically individualistic, but it is also truly an allegory. Recent research has emphasized how closely related metaphor often is to metonymy and how intimately the two can interact to produce metaphtonymy. This interaction is just as important in allegory as in purely linguistic metaphor and metonymy. The Pilgrim’s Progress makes subtle use of conceptual metaphtonymy to express its individualism. Although the degree of in

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Campbell, Julie. "Allegories of Clarity and Obscurity: Bunyan's and Beckett's." Samuel Beckett Today / Aujourd'hui 24, no. 1 (2012): 89–103. http://dx.doi.org/10.1163/18757405-024001006.

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This article explores the ways in which Beckett's can be considered a modern allegory that both uses and confuses the methods of traditional allegory. John Bunyan, in , was able to depend upon his readers' knowledge of the Bible to decode the allegorical nature of the tale of Christian and his endeavours to overcome sinfulness and reach heaven. This discussion is concerned with the way Beckett redefines the allegoric mode in , simultaneously encouraging and thwarting the reader's interpretive activity, and the ways in which the allusions to Bunyan's text play a part in this process.

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Orgad, Zvi. "Prey of Pray: Allegorizing the Liturgical Practice." Arts 9, no. 1 (2019): 3. http://dx.doi.org/10.3390/arts9010003.

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Numerous images embedded in the painted decorations in early modern Central and Eastern European synagogues conveyed allegorical messages to the congregation. The symbolism was derived from biblical verses, stories, legends, and prayers, and sometimes different allegories were combined to develop coherent stories. In the present case study, which concerns a bird, seemingly a nocturnal raptor, depicted on the ceiling of the Unterlimpurg Synagogue, I explore the symbolism of this image in the contexts of liturgy, eschatology, and folklore. I undertake a comparative analysis of paintings in medie

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Maskarinec, Malika. "Allegory and Analogy in Menzel’s The Iron Rolling Mill." Zeitschrift für Kunstgeschichte 84, no. 1 (2021): 58–77. http://dx.doi.org/10.1515/zkg-2021-1003.

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Abstract Adolph Menzel’s Das Eisenwalzwerk, or Moderne Cyklopen (The Iron Rolling Mill, or Modern Cyclopes) from 1875 depicts an analogy central to nineteenth- century thought, namely, that between the human motor and the combustion engine. The painting visualizes the differing rhythms of these two “machines” and the entropy produced as a result of that difference. The painting’s reflection on labor also elaborates an allegory of the activity of painting. Such an allegorical reading, motivated by particular attention to the objects placed in the painting’s foreground, entails a reevaluation of

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Ackerman, Alan. "The Prompter’s Box: Modern Drama’s Allegories of Allegory." Modern Drama 49, no. 2 (2006): 1–8. http://dx.doi.org/10.3138/md.49.2.1.

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Ackerman, Alan. "The Prompter’s Box: Modern Drama’s Allegories of Allegory." Modern Drama 49, no. 2 (2006): 147–54. http://dx.doi.org/10.3138/md.49.2.147.

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Ackerman, Alan L. (Alan Louis). "The Prompter's Box: Modern Drama's Allegories of Allegory." Modern Drama 49, no. 2 (2006): 147–54. http://dx.doi.org/10.1353/mdr.2006.0058.

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Morton, Stephen. "Decolonizing allegory and anti-imperialist critique in the longue durée of extractivism." Literature, Critique, and Empire Today 59, no. 1 (2024): 73–84. http://dx.doi.org/10.1177/30333962241236094.

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A re-thinking of the critical vocation of the Journal of Commonwealth Literature is long overdue. The British Commonwealth of Nations that was first established in 1949 has continued to provide a neo-colonial framework for Britain and its former dominions (particularly Australia and Canada) to extract raw materials, capital, and labour from former British colonies and commodity frontiers within settler colonies. For this reason, the British Commonwealth of Nations may be understood as a zombie-like system of extractivism, in which a moribund imperial power stumbles on by draining the postcolon

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Grillo, Jennie. "The Envelope and the Halo: Reading Susanna Allegorically." Interpretation: A Journal of Bible and Theology 72, no. 4 (2018): 408–17. http://dx.doi.org/10.1177/0020964318784242.

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The tale of Susanna in the Greek versions of the book of Daniel has its roots in allegorical readings of Hebrew Scripture, and the church has read the story of Susanna both as an allegory of the church and of Christ. The allegorical treatment of Susanna as the church is the most acceptable to modern criticism, since it preserves the narrative coherence of the book; but the more fragmentary, piecemeal allegory of Susanna as Christ was compelling in antiquity, especially in visual interpretations. This essay explores how allegorical readings of Susanna as a Christ figure capture an essential par

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Garey, James Wesley. "“In every leaf, lectures of Providence”: Lucy Hutchinson, Natural Theology, and the Emblem-Book Tradition." Journal of Medieval and Early Modern Studies 55, no. 2 (2025): 325–51. https://doi.org/10.1215/10829636-11716354.

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Early modern Protestants frequently appear dismissive of both natural theology and allegorical readings of scripture. However, the works of Lucy Hutchinson (1620 – 1681) exemplify a Puritan version of natural theology and allegorical hermeneutics, applied to both scripture and the natural world. Hutchinson's theological prose engages with the writings of John Calvin and John Owen to frame scripture and nature as compatible but nonidentical revelations of divine glory. Likewise, Hutchinson's verse paraphrase of Genesis, Order and Disorder, suggests that both scripture and nature have hidden spi

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Brenner, Athalya. "To See Is To Assume: Whose Love Is Celebrated in the Song of Songs?1." Biblical Interpretation 1, no. 3 (1993): 265–84. http://dx.doi.org/10.1163/156851593x00160.

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AbstractThree characteristic features of the Song of Songs are its (a) disjointed or absent plot, (b) gynocentrism and (c) lack of theocentrism. Recognition of these features facilitates a reassessment of the book's allegorical readings, be they ancient or modern, Jewish or Christian, religious or ostensibly secular. The principal readings discussed are Rabin's reconsideration of the Song's intrinsic allegorical properties with reference to Tamil love poetry; M. Cohen's on the Song and Jewish mystical literature (the Shiur Qomah and Hekhalot Rabbati); Murphy's position of reading mutually refl

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Russell, Jesse. "The bear myth in Edmund Spenser’s Faerie Queene." Reinardus / Yearbook of the International Reynard Society 31 (December 31, 2019): 115–34. http://dx.doi.org/10.1075/rein.00028.rus.

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Abstract The animals in Edmund Spenser’s Faerie Queene have been skillfully treated as allegories, but these creatures also deserve a look from a mythological perspective. Perhaps the most important animal to begin with is the bear, which French historian Michel Pastoureau recently has explored in his monumental, The Bear: History of a Fallen King. Using many of Pastoureau’s insights (and criticizing others), we can make room for an analysis of The Faerie Queene as a text in which pre-modern and even ‘prehistorical’ images of bears meet with Early Modern views of the noble creature, demonstrat

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Gwóźdź-Szewczenko, Ilona. "Od emblematycznej alegorii do symbolicznej hypotypozy — z przemian obrazowania śmierci w liryce czeskiej końca XIX wieku." Slavica Wratislaviensia 168 (April 18, 2019): 263–74. http://dx.doi.org/10.19195/0137-1150.168.22.

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From emblematic allegory to symbolic hypotyposis: On the changes of depicting death in Czech poetry at the close of the 19th centuryThe paper is devoted to the analysis of depictions of death in Czech poetry created at the end of the 19th century. The author starts her deliberations from the poetry of the 1890s which was created in the spirit of realism. Then, she moves on to the deliberations about modernist poetry which — in this paper — is not considered as a homogenous whole. Starting from decadence, chronologically the earliest, through impressionism to mature modernism manifesting itself

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McGovern, Jonathan, and Yuxuan Tao. "The Parliament of Birds and the Fall of Cardinal Wolsey: A Case Study of Political Allegory in Early Modern England." Studies in Philology 121, no. 4 (2024): 465–78. http://dx.doi.org/10.1353/sip.2024.a940236.

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Abstract: This article identifies the significance of an early Tudor poem entitled The Parliament of Birds . This anonymous poem was most likely written and first published in around 1530, though the date could be as late as 1535. It combines two narratives, telling the story of a proud hawk and an upstart crow who are ultimately humbled by their king, the eagle. The article argues that this poem, which has received very little attention from scholars, is an allegory of the fall of Cardinal Wolsey, King Henry VIII’s chief minister, in 1529. The article thus provides a case study into the polit

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Schmale, Wolfgang. "Critical Note: Representations of the continents by means of allegorical figures in the early modern period. (Bodies and Maps: Early Modern Personifications of the Continents, edited by Maryanne Cline Horowitz and Louise Arizzoli, Brill, Leiden 2020)." Diciottesimo Secolo 7 (November 18, 2022): 147–52. http://dx.doi.org/10.36253/ds-13179.

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In the early modern period, the representation of the continents by means of allegorical figures enjoyed great popularity. The book Bodies and Maps: Early Modern Personifications of the Continents, edited by Maryanne Cline Horowitz and Louise Arizzoli, is very stimulating, richly documented and fundamental with regard to the detailed source-critical examination of concrete individual visualisations of the continents. The focus of the book rather lies with the 16th century, while part 5 focuses on the 18th century. In the 18th century, continent allegories entered into the public sphere and rea

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Esterson, Rebecca. "Allegory and Religious Pluralism: Biblical Interpretation in the Eighteenth Century." Journal of the Bible and its Reception 5, no. 2 (2018): 111–39. http://dx.doi.org/10.1515/jbr-2018-0001.

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AbstractThe Christian discourse of the literal and spiritual senses in the Bible was, in the long eighteenth century, no less tied to perceptions of Jewish interpretive abilities than it had been previously. However, rather than linking Jews with literalism, in many cases the early modern version of this discourse associated Jews with allegory. By touching upon three moments in the reception history of the Bible in the eighteenth century, this article exhibits the entanglement of religious identity and biblical allegory characteristic of this context. The English Newtonian, William Whiston, fe

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Shavulev, Georgi. "Some Remarks on Musical Symbolism of Philo’s Hermeneutics in “De Posteritate Caini”." OPEN JOURNAL FOR STUDIES IN PHILOSOPHY 5, no. 2 (2021): 63–72. http://dx.doi.org/10.32591/coas.ojsp.0502.03063s.

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Philo of Alexandria can hardly be called a philosopher, especially given a certain speculative or systematic philosophy. But also, contrary to the prevailing opinion in contemporary research, it could hardly be defined as an exegete, especially given the modern content of the term. At the same time, the impression remains that the most often associated concept with his name – allegory (allegorical interpretation) is usually perceived too narrowly, and not enough attention is paid to the actual literary and hermeneutical skills of the author. Modern translations of his works often do not reflec

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Thomas, Alan. "Howard Barker: Modern Allegorist." Modern Drama 35, no. 3 (1992): 433–43. http://dx.doi.org/10.3138/md.35.3.433.

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Oppitz-Trotman, George. "Staging Vice and Acting Evil: Theatre and Anti-Theatre in Early Modern England." Studies in Church History 48 (2012): 156–69. http://dx.doi.org/10.1017/s0424208400001297.

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This article revisits the relationship between dramatic production and religious change in the sixteenth century, specifically by examining the allegorical Vice figure - a dramatic embodiment of evil forces - that came to particular prominence during this period. It suggests that the professional actor became increasingly associated with this figure of moral evil. I propose also that understanding the moral ambivalence of the actor’s presence can inform our understanding of many plays in which no obviously coherent Vice figure is present, but in which possibilities of such an allegory are impo

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Заваринська, Х. М. "ПЕРСОНІФІКАЦІЇ В УКРАЇНСЬКІЙ ПАНЕГІРИЧНІЙ ГРАВЮРІ КІНЦЯ ХVI — ХVII СТОЛІТТЯ: ІКОНОГРАФІЯ РАННІХ ЗРАЗКІВ АЛЕГОРІЙ НАУК". Вісник ХДАДМ, № 4 (2 листопада 2018): 30–41. https://doi.org/10.5281/zenodo.1476829.

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The image of the seven liberal arts, that is, the disciplines of the trivium – grammar, rhetoric, dialectics and quadrivium – arithmetic, geometry, astronomy, music, and a number of sciences, which do not belong to the list of artes liberales, were among the most widespread personifications in European art of the 16th – 18th centuries. The early examples of the liberal arts’ iconography emerged during the early Middle Ages, gradually not only additional variants of their image appear, but also completely new personifications, which reflect dynamic changes in different a

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Naduda, Nataliya Vladimirovna. "National character in the allegorical prose of M. Tarkovsky and A. Bushkovsky." Litera, no. 12 (December 2021): 120–27. http://dx.doi.org/10.25136/2409-8698.2021.12.34830.

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This article analyzes the Russian national character as the main theme in the works of M. Tarkovsky and A. Bushkovsky. The criteria for selecting the research material is the date of publication (2019) and the presence of an allegorical plot, which depicts the traditionalism, spirituality, controversy, and at the same time holism, sense of humor, and depth of national character. The author views national character as the foundation of artistic world in the allegorical prose; as well as gives characteristics to the key motifs, such as faith, labor, challenges, antagonism of the alien, unfamilia

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Biddle, Mark E. "Christian interpretation of Esther before the Reformation." Review & Expositor 118, no. 2 (2021): 149–60. http://dx.doi.org/10.1177/00346373211024130.

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This contribution to Review & Expositor’ s issue on “Esther as Christian Scripture” surveys Esther scholarship before the Reformation with a view to identifying trends and with particular interest in the degree of any continuity that may bridge the Reformation as a point of demarcation. Contrary to what might be expected, this brief survey of the history of Christian Esther interpretation before the Reformation demonstrates that many of the issues confronting contemporary Esther scholarship surfaced in some form prior to the rise of modern critical scholarship (historicity, genre, gender r

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shaldehi, Ahmad hedayatpanah, Marziyeh hedayatpanah shaldehi, Kolachahi Sabet Mohammad Taghi, and Mohammad Saeed hedayatpanah shaldehi. "Infinite Teaching ( ) In Collection and ( ) By Allegory and Conformity." Indian Journal of Advanced Mathematics 1, no. 1 (2021): 29–33. http://dx.doi.org/10.35940/ijam.b1107.041121.

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The main purpose of this paper is to teach the infinite ( ) properties in real ( ) and expansive ( ) sets. Using allegory and matching. In today's advanced world, there may be more teaching methods than there are instructors. Some teaching methods are better known as the classical and modern methods. Some of these methods are more effective in basic science courses, especially mathematics, among which we can mention exploratory, discovery, and theological methods. Each of these three methods differs in the way the teacher and student interact. In the verbal method, the discovery and extraction

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Ahmad, hedayatpanah shaldehi, hedayatpanah shaldehi Marziyeh, Sabet Mohammad Taghi Kolachahi, and Saeed hedayatpanah shaldehi Mohammad. "Infinite Teaching (R ) In Collection and (R ) By Allegory and Conformity." Indian Journal of Advanced Mathematics (IJAM) 1, no. 1 (2021): 29–33. https://doi.org/10.54105/ijam.B1107.041121.

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The main purpose of this paper is to teach the infinite ( ) properties in real ( ) and expansive ( ) sets. Using allegory and matching. In today's advanced world, there may be more teaching methods than there are instructors. Some teaching methods are better known as the classical and modern methods. Some of these methods are more effective in basic science courses, especially mathematics, among which we can mention exploratory, discovery, and theological methods. Each of these three methods differs in the way the teacher and student interact. In the verbal method, the discovery and extrac

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Al-Bahloly, Saleem. "The Persistence of the Image: Dhākira Hurra in Dia Azzawi's Drawings on the Massacre of Tel al-Zaatar." ARTMargins 2, no. 2 (2013): 71–97. http://dx.doi.org/10.1162/artm_a_00048.

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This article examines the memory-image in a set of drawings produced by the Iraqi artist Dia Azzawi on the massacre of the Palestinian refugee camp, Tel al-Zaatar, during the Lebanese civil war. It traces the development of this memory-image in Iraq in the 1960s, within a paradigm of the modern artwork established by the work of the artist Kadhim Haidar. Generalizing in modern art a mode of allegory from the poetic tradition of the husayniyyat, that paradigm introduced a philosophy of history in which the past was interpreted as a tradition of tragic forms that could be revived in painting as

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Krzywy, Roman. "Allegorical Ekphrases of the Hall of Fame in Baroque Encomiums by Samuel Twardowski and Samuel Leszczyński." Ruch Literacki 57, no. 6 (2016): 623–35. http://dx.doi.org/10.1515/ruch-2017-0091.

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Summary The article begins with an overview of the best known descriptions of palaces and temples in classical and Biblical literature. It is followed by a brief survey of the rhetorical rules associated with the ekphrasis of notable buildings, palaces, and other architectural wonders. After noting the importance of such description in the study of literature from classical antiquity until the Early Modern Age, the article focuses on two encomiums of the 17th century, Samuel Twardowski’s Leszczyński Palace (1643) and Samuel Leszczyński’s A Classicum of immortal Fame (1674). In both poems the e

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Fang, Li-ri. "An Interpretation of the “Pojeong Haewoo (庖丁解牛)” Fable of Zhuangzi in Chinese Culture Education in Korea". Society for Chinese Humanities in Korea 84 (31 серпня 2023): 273–87. http://dx.doi.org/10.35955/jch.2023.08.84.273.

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In this paper, when educating modern international Chinese culture, the author observes, analyzes and interprets the fables in Zhuangzi from the perspective of culture and education. In particular, it was possible to increase the usability of allegoric tales by intensively examining the “Pojeong Haewoo”. Through a series of research processes, it showed the usefulness and scope of use of allegoric tales of Zhuangzi in Chinese culture education, and it is meaningful in that it promotes Chinese culture education in the form of acquisition through learners' learning rather than memorization. In a

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Ohana, Michal. "Rabbi Eliezer Ashkenazi's Commentary on the Garden of Eden Story: Between Exegesis and Religious Thought." AJS Review 42, no. 2 (2018): 489. http://dx.doi.org/10.1017/s036400941800048x.

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This essay investigates Rabbi Eliezer Ashkenazi's commentary on the story of the Garden of Eden, first exploring his method of Bible commentary in general. In his interpretation of the Bible he vehemently distances himself from allegorical interpretation that abandons the plain meaning of the text, and holds that while biblical stories function as allegory (mashal), they all, without exception, actually occurred as written. Ashkenazi's interpretation of the Garden of Eden episode serves as a platform for presenting his thoughts regarding two of the main issues that occupied Jewish thinkers dur

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Crassons, Kate. "Allegorical Investigations: Autism, Applied Behavioral Analysis, and Medieval Poetry." Literature and Medicine 41, no. 1 (2023): 63–92. http://dx.doi.org/10.1353/lm.2023.a911445.

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Abstract: This essay explores the connections between the modern autism intervention Applied Behavioral Analysis (ABA) and medieval personification allegory to show how literature powerfully enables the work of neurodiversity. Invoking the theory of the language game to investigate the clinical history of ABA, the essay puts the fourteenth-century poet William Langland in dialogue with Ludwig Wittgenstein and Stanley Cavell. I argue that the approach to language emerging from this constellation of voices works as a precise tool for diagnosing the ethical liabilities of ABA. By highlighting the

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Nenarokova, Maria R. "John Bunyan’s Pilgrim’s Progress: From Emblem to Comics." Studia Litterarum 8, no. 2 (2023): 108–39. http://dx.doi.org/10.22455/2500-4247-2023-8-2-108-139.

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The article analyses the imagery of John Bunyan’s allegorical treatise The Pilgrim’s Progress, which belongs to the most important works of both English and world culture, and its visual embodiment tradition. The illustration series for Bunyan’s book were created almost immediately after its first publication in 1678. The study shows that even the early illustrations for The Pilgrim’s Progress can be characterized as creolized texts, since they form a single complex with accompanying texts. Stable images associated with one or another episode of the book, are formed already at the end of the 1

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Singh, Krishna Kant. "Salman Rushdie's Depiction of Cosmic World in The Moor's Last Sigh, The Ground Beneath Her Feet and Fury." International Journal of Research 9, no. 6 (2022): 539–46. https://doi.org/10.5281/zenodo.8133211.

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In <em>The</em> <em>Moor’s Last Sigh</em>, Rushdie’s world is more effective than in his other novels. He assumes the whole nation as the world of one family and that is the reason the novel works on the allegorical level. On one level, the paternal family as a national allegory works through a series of metaphoric substation leadings from a traditional division of gender roles to a definition of the modern nation based on western models of cultural, political and economic progress. On the another level the images of the mother India-ringing from the Moor’s rebellio

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Maggi, Armando. "Staging a demonic possession: Calderon's auto sacramental El diablo mudo." Romance Notes 63, no. 3 (2023): 695–706. http://dx.doi.org/10.1353/rmc.2023.a936551.

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Abstract: This essay examines Calderón's El diablo mudo , an auto sacramental in which the Spanish playwright stages an extraordinary interpretation of demonic possession by reinterpreting the multiple Gospel tales on this subject. The essay first highlights the centrality of Satan in Calderón's autos in the light of his view of history and allegory. Subsequently, it discusses the early-modern interest in demonic possessions as public spectacles and the cultural significance of exorcism. Finally, the essays shows that Calderón's El dablo mudo represents a unique interpretation of the basic int

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Russell, Ian Alden. "Art and archaeology. A modern allegory." Archaeological Dialogues 18, no. 2 (2011): 172–76. http://dx.doi.org/10.1017/s1380203811000237.

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Following the recent discussion of excavation in Archaeological dialogues (18(1)), Rodney Harrison's questioning of the viability of excavation and depth as viable tropes for conceptualizing and communicating archaeology's epistemological processes is both timely and pertinent. Beginning where Harrison finished, his use of Anselm Kiefer's artistic work as a ‘framing’ device, brings me to some intriguing critical trajectories for understanding archaeology's modern condition and the possibilities for it at this moment through deeper engagements with contemporary art, and visual and material gest

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Otey, Melvin L. "A Modern Reflection on Premodern Allegory." Studies of Biblical Interest 1, no. 1 (2024): 21–30. https://doi.org/10.5281/zenodo.10938168.

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<em>Modern Bible readers and scholars often view premodern exegesis with a jaundiced eye because of its heavy reliance on allegorical interpretation. However, patristic and medieval interpreters were serious students of scripture. Although their methods are sometimes strange by contemporary standards, their efforts are worthy of continuing respect and careful consideration.</em>

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Slade, Darren M. "Patristic Exegesis: The Myth of the Alexandrian-Antiochene Schools of Interpretation." Socio-Historical Examination of Religion and Ministry 1, no. 2 (2019): 155–76. http://dx.doi.org/10.33929/sherm.2019.vol1.no2.03.

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The notion that there existed a distinction between so-called “Alexandrian” and “Antiochene” exegesis in the ancient church has become a common assumption among theologians. The typical belief is that Alexandria promoted an allegorical reading of Scripture, whereas Antioch endorsed a literal approach. However, church historians have long since recognized that this distinction is neither wholly accurate nor helpful to understanding ancient Christian hermeneutics. Indeed, neither school of interpretation sanctioned the practice of just one exegetical method. Rather, both Alexandrian and Antioche

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Bandeirinha, José António, and Rui Aristides Lebre. "The need for Shelter Laugier, Ledoux, and Enlightenment’s shadows." Sophia Journal 5, no. 1 (2020): 54–71. http://dx.doi.org/10.24840/2183-8976_2019-0005_0001_05.

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The scope of this text is to think about how the human need for shelter began to appear as a foundational allegory for the discipline of architecture in the early modern age (XVIII - XIX), particularly in Laugier’s “Primitive Hut” of 1753 and Ledoux’s “L’Abri du Pauvre” of 1804. At roughly the same periods as these architects were investing the discipline with a new existential calling, new European visions of society, its organization and constraints were exploding the imaginary and concrete limits of the European polity which, at the time, was a planetary polity. Between Rousseau’s soc

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Classen, Albrecht. "Allegory and the Poetic Self: First-Person Narration in Late Medieval Literature, ed R. Barton Palmer, Katharina Philipowski, and Julia Rüthermann. Gainesville, Tallahasse, et al.: University Press of Florida, 2022, vii, 316 pp." Mediaevistik 36, no. 1 (2023): 266–68. http://dx.doi.org/10.3726/med.2023.01.13.

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Narratologically speaking, the emergence of the poetic “I” in late medieval and early modern European literature constitutes a major benchmark of a long-term paradigm shift which ultimately transcended into the Baroque novel written entirely from the first-person perspective, such as the anonymous Spanish Lazarillo de Tormes (1552) and Grimmelshausen German Simplicissimus (1668). However, already high medieval romances such as Wolfram von Eschenbach’s Parzival (ca. 1205) or allegorical narratives such as Hartmann von Aue’s Klagebüchlein (ca. 1180) contain remarkable elements of the playful eng

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Zhang, Fengyi. "The Allegory of the Caves Implication on Modern Education." Lecture Notes in Education Psychology and Public Media 1, no. 1 (2021): 354–56. http://dx.doi.org/10.54254/lnep.iceipi.2021238.

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In "Allegory of The Cave" from Plato Aristocles' book The Republic, Plato presents a dialogue between Glaucon and Socrates, which discusses proper pedagogy through a cave metaphor. The cave metaphor is a scenario that involves the actions of few prisoners trapped in a cave; they "are very much like us humans" [1]. In the allegory, there are symbolic elements like shadows and sunlight. By interpreting these elements in the rest of the essay, it explores the implication of the cave metaphor to modern education: a gradual pedagogy should be preferred above sudden exposure to higher-level knowledg

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Adv., Shreelakshmi Sayajirao Raje Bhonsle. "Implication of Plato's Allegory of the Cave in the present day Modern Political Order." Journal of Research & Development' 14, no. 11 (2022): 56–59. https://doi.org/10.5281/zenodo.7052501.

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<strong>Abstract-</strong>  Plato the great philosopher of all the times has given us an incredible Allegory. This Allegory is named by him as the Allegory of the cave because he uses the backdrop of the cave to explain, how the reality is different from that what it appears to be. He demonstrates how intellectual enlightenment plays a great role in getting liberated and also helping others liberate from the bondages of ignorance along with the physical, mental and political imprisonment in which they were living happily. This Allegory of the cave primarily has epistemological and metaphy

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Feinsod, Harris. "Postindustrial Waterfront Redevelopment and the Politics of Historical Memory." Comparative Literature 73, no. 2 (2021): 184–208. http://dx.doi.org/10.1215/00104124-8874084.

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Abstract How have cities reorganized attention to their waterfronts after the decline of urban seaports? What kind of cultural record attends this reorganization? This article investigates the politics of historical memory at several sites of postindustrial harbor redevelopment since the 1960s. It locates the aesthetic sensibilities of waterfront renewal in a scattered network of comic tableaux in literature, art, and moving images, including the documentaries of Dutch filmmaker Joris Ivens, the sitcom Arrested Development, and a mural at Baltimore’s National Aquarium. Like fragments of Benjam

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Otayarova Umida Bolibek Qizi. "Teaching Wisdom and Virtue: The Educational Legacy Of Jami and Navoi’s Epics On Alexander." Web of Scientist International Scientific Research Journal 4, no. 1 (2025): 6. https://doi.org/10.47134/webofscientist.v4i1.48.

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This study explores the moral and educational legacy of two prominent Eastern literary figures—Abdurahman Jami and Alisher Navoi—through their epics Khiradnomayi Iskandariy and Saddi Iskandariy. The primary aim is to examine how these works instill virtues such as generosity, contentment, justice, and moral responsibility in readers, especially within a pedagogical context. Utilizing comparative literary analysis and thematic interpretation, the research investigates the ethical messages conveyed through allegories, fables, and narrative episodes involving Alexander the Great. Methodologically

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Lisi, Leonardo F. "Allegory, Capital, Modernity:Peer Gyntand Ibsen's Modern Breakthrough." Ibsen Studies 8, no. 1 (2008): 43–68. http://dx.doi.org/10.1080/15021860802133751.

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Ashutosh Manohar Popate. "The Struggle of Patriarchy against ‘the juggernaut of modern matriarchy’ in Kesey’s One Flew over the Cuckoo’s Nest." Creative Saplings 4, no. 3 (2025): 11–20. https://doi.org/10.56062/gtrs.2025.4.03.902.

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Human societies are always entrapped in internal conflicts for power. In the similar internal conflict between patriarchy and matriarchy, men can outsmart women historically reducing them to the secondary positions in the male-dominated society. However, the coming of the waves of feminist thinking threatened the male authority and power and justified equality and freedom for women. The conventional and stereotypical roles of women were debated and the radical feminism violently challenged male authoritarian control over society; it questioned and problematized the specific secondary gender ro

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Barr, James. "The Literal, the Allegorical, and Modern Biblical Scholarship." Journal for the Study of the Old Testament 14, no. 44 (1989): 3–17. http://dx.doi.org/10.1177/030908928901404401.

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Kalmár, György. "Recontextualizing Son of Saul: Masculinity in Totalitarian Spaces in Hungarian Film History." Acta Universitatis Sapientiae, Film and Media Studies 21, no. 1 (2022): 123–45. http://dx.doi.org/10.2478/ausfm-2022-0005.

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Abstract As a result of its radical approach to the topic of the Holocaust, as well as due to the long list of prestigious prizes it won, Son of Saul (Saul fia, 2015, directed by László Nemes Jeles) has put the relation between Eastern European societies and totalitarianism in the centre of public and academic discourse. Though most reviews and articles placed the film in the history of Holocaust-representations, this is not the only context in which the film can be understood. In the present article I argue that Son of Saul can also be read outside (or at least at a distance from) the context

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Andersson, Fred. "Iconography of the Labour Movement. Part 1: Republican Iconography, 1792–1848." ICO Iconographisk Post. Nordisk tidskrift för bildtolkning – Nordic Review of Iconography, no. 1-2 (November 3, 2020): 153–83. https://doi.org/10.69945/ico.vi1-2.25660.

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This is the first article in a two-part study of the background and development of the iconography of the international socialist labour movement. With the breakthrough of modern political ideologies after the American and French revolutions, the symbols of freemasonry long remained an important point of reference for new iconographic systems serving secular propagandistic needs. The virtues and vices of classical moral education were replaced or combined with new ones, and old symbols were invested with altered meanings in the context of political satire and allegory. The human and especially

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Kubiak, Ewa. "Alegoria Eucharystii – wspólne wzory graficzne w malarstwie XVII i XVIII w. w Polsce i Peru." Sztuka Ameryki Łacińskiej 1 (2011): 213–42. http://dx.doi.org/10.15804/sal201109.

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The motive of Eucharist is one of the most important subjects of allegoric images in baroque Polish as well as Vice-Kingdom of Peru art. Apart from classical images with The Eucharist’s adoration, in which the luminous body of Christ is placed in a monstrance, there were also symbolic compositions in which the mystery of Christ’s sacrifice was presented in an allegoric way. Some of these images are presented in the article. The most interesting for the author are images common for modern Polish painting and colonial Peru. The first such composition is The Mystical Press – the subject that was

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Eboh, Marie Pauline. "Public Reason and Embodied Community- Intercultural Philosophical Perspective: An African Approach." Filosofia Theoretica: Journal of African Philosophy, Culture and Religions 9, no. 1 (2020): 63–78. http://dx.doi.org/10.4314/ft.v9i1.5.

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Every human person is a cultural being. Each culture has incomplete knowledge of reality, and the sharing of viewpoints makes for mutual enrichment, hence the need for intercultural perspectives. Even in a human being, body and spirit, emotion and reason reciprocally influence on each other. Life is dialogical. Action gives flesh to theory, and the abstract reason is exemplified in real things, which is what embodiment of reason is all about. Principles govern all things and public reason, as a causal principle, regulates the affairs of embodied homogeneous communities. African embodiment of r

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Levinson, Katerina J. "Allegorical Vision: The Promotion of the Senses and the Vision of the Entendimiento in Calderón’s El cubo de la Almudena." Humanities 13, no. 3 (2024): 72. http://dx.doi.org/10.3390/h13030072.

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The following article examines the role of the sentidos and the entendimiento in Pedro Calderón de la Barca’s auto sacramental, El cubo de la Almudena. While scholarship recognises the pervasiveness of the play on the senses in early modern Spain, scholars often either deny or overemphasise the reliability of the senses as a means of truth acquisition. Moreover, scholarship often attaches too much weight to hearing, thus neglecting the role of the eyes of the entendimiento. Based on a Thomistic framework, Calderón demonstrates that the literal element of allegory relies on the active vehicle o

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