Relevant bibliographies by topics / Allegorical Commentary

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  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Allegorical Commentary'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Allegorical Commentary"

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Piehler, Paul. "The Rehabilitation of Prophecy: On Dante's Three Beasts." Florilegium 7, no. 1 (1985): 179–88. http://dx.doi.org/10.3138/flor.7.011.

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Out of the range of learned commentary helpful in the understanding of Dante’s allegory I select, as a not entirely arbitrary starting point, Joseph Mazzeo's wide-ranging exploration of allegorical exegesis, entitled "Allegorical Interpretation and History."'1’ This article, published in 1978, is notable for the unusually clear and firm distinction it draws between allegorical interpretation of texts, normally sacred texts, not actually designed to be read allegorically, and what Mazzeo terms "constructed allegory," that is, "The works of our literary tradition which demand to be understood as allegory rather than simply allowing allegorical interpretation . .(p. 17). After clarifying this essential but all too often obscured distinction, Mazzeo goes on to point out that constructed allegory "should generally be understood as following typological patterns rather than the more abstract and unhistorical patterns of allegorical exegesis.""Typolog-ical" allegory he defines as allegory that "assumes the existence of a central paradigmatic story, of a sacred or near-sacred character, set in the past and assumed to be historical . .(p. 17).
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Jacobs, Jonathan. "The Allegorical Exegesis of Song of Songs by R. Tuviah ben ’Eliʽezer—Lekaḥ Tov, and Its Relation to Rashi's Commentary". AJS Review 39, № 1 (2015): 75–92. http://dx.doi.org/10.1017/s0364009414000658.

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This article examines three facets of R. Tuviah ben ’Eliʽezer's commentary,Lekaḥ tov, on Song of Songs: (a) his unique approach to allegorical interpretation; (b) his participation in Judeo-Christian polemics; and (c) the question of a connection between his commentary on Songs and Rashi's. R. Tuviah proposes to read the verses of Songs as simultaneously describing the past, the present, and the future of the Jewish nation, a type of reading that is extremely rare in rabbinic midrashim, which R. Tuviah adopts to create a systematic allegorical commentary. There are similarities between the interpretations of R. Tuviah and those of Rashi; while not numerous, all the same these two scholars were the first to propose a literal interpretation of Songs, they both engaged in similar Judeo-Christian polemic, and they interpreted Songs on the allegorical level in a similar fashion. These points of similarity support the possibility that Rashi was exposed to reports of R. Tuviah's commentary on Songs.
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Hoogerwerf, Cornelis. "Historische versus allegorische uitleg in de inleiding van Išo‘dad van Mervs commentaar op de Psalmen : Vertaling en bronkritische analyse1." NTT Journal for Theology and the Study of Religion 73, no. 4 (2019): 283–97. http://dx.doi.org/10.5117/ntt2019.4.002.hoog.

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Abstract The introduction to the ninth-century commentary on the Psalms by Išo‘dad of Merv contains a chapter on historical versus allegorical explanation. The first half of this chapter is about Origen and the Greek origin of allegorical explanation. The second half shows the inadequacy of allegorical explanation on the basis of Paul’s interpretation of the rock in the desert as Christ (1 Cor. 10:4). This article contains a Dutch translation and an analysis in which the possible sources of Išo‘dad’s text are discussed with special attention to the work of Theodore of Mopsuestia.
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Cameron, Michael. "Jacobin Allegory in Thelwall's The Rock of Modrec." Romanticism 26, no. 3 (2020): 223–34. http://dx.doi.org/10.3366/rom.2020.0473.

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This essay seeks to show that The Rock of Modrec occupies an important place in Thelwall's oeuvre and in the early development of Jacobin ‘seditious allegory’. While scholarship has thus far ignored The Rock of Modrec on account of its apparent juvenilia and ostensible apoliticism, I argue that Thelwall's chivalric romance allegorizes the British spirit as a champion of liberty and universal emancipation, and that it does so for a popular audience. Furthermore, its protagonist serves as a model for Jacobin allegorical reading practices: Sir Eltram begins as a passive receiver of ‘politico-sentimental’ appeals but eventually becomes an active allegorical interpreter, capable of reading into texts the universal truth of democratic liberty for which the British Jacobins strove. The Rock of Modrec thus serves as both an early example of Thelwall's use of ‘seditious allegory’ and a meta-textual commentary on the importance of allegorical reading as Jacobin radical praxis.
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Inan, Murat Umut. "Crossing Interpretive Boundaries in Sixteenth-Century Istanbul: Aḥmed Sūdī on the Dīvān of Ḥāfiẓ of Shiraz". Philological Encounters 3, № 3 (2018): 275–309. http://dx.doi.org/10.1163/24519197-12340045.

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Abstract This article discusses an Ottoman commentary by Aḥmed Sūdī (d. ca. 1600) on the Dīvān (poetry collection) of Ḥāfiẓ of Shiraz (d. ca. 1390), a Persian literary masterpiece that enjoyed wide readership in the Ottoman world for centuries. In the first part of the article, I introduce Sūdī’s life and works and delineate the structure of his commentary, noting how that structure is underpinned by his philological approach to commentary writing. In the second part, I focus on Sūdī’s interpretation of the opening verse of the Dīvān and compare it with that of his predecessors to highlight and contextualize Sūdī’s commentarial approach. I conclude by illustrating how his grammatical-lexicographical analysis aimed to liberate the celebrated Dīvān from the dominant tradition of allegorical interpretation.
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Larner, Wendy. "Reflections from an islander." Dialogues in Human Geography 2, no. 2 (2012): 158–61. http://dx.doi.org/10.1177/2043820612449312.

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This commentary stretches Jamie Peck’s (2012) allegorical account of ‘island life’ by discussing the characteristics of ‘island scholarship’. It argues such scholarship involves an academic style based on bricolage and borrowing, inflected with homegrown innovation and ingenuity. It occupies awkward conceptual spaces that demand conversations across difference, ‘rubbing along together’ without fully understanding or accepting others’ world-views, and accepting that translations always change both the translator and what is being translated.
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Edwards, M. J. "Numenius, Pherecydes andThe Cave of the Nymphs." Classical Quarterly 40, no. 1 (1990): 258–62. http://dx.doi.org/10.1017/s0009838800026951.

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The following excerpt from Proclus'Commentary on the Timaeusappears as Fr. 37 in the edition of the fragments of Numenius by Des Places.1 It is the aim of this study (1) to ascertain the original place of the fragment in his work, and (2) to show that it belongs to a second-century school of allegorical commentary on the ancient theologians, and particularly on Pherecydes of Syros, of which Numenius will have been one of the brightest luminaries.
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Kasprzak, Dariusz. "The allegorical sense of Gregory the Great’s commentary on the Song of Songs." Analecta Cracoviensia 44 (December 31, 2012): 101. http://dx.doi.org/10.15633/acr.7.

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Fu, Mengxing. "New Wine in Old Bottles: Contemporary Chinese Online Allegorical Ghost Stories as Political Commentary." Metacritic Journal for Comparative Studies and Theory 5, no. 1 (2019): 36–54. http://dx.doi.org/10.24193/mjcst.2019.7.02.

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Malsbary, Gerald. "Epic Exegesis and the Use of Vergil in the Early Biblical Poets." Florilegium 7, no. 1 (1985): 55–83. http://dx.doi.org/10.3138/flor.7.005.

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The Latin Christian biblical poets of late antiquity are customarily divided into two groups: a) those who keep rather strictly to a ’’paraphrase’’ of the scriptural narrative, and b) those who go "beyond paraphrase" in order to develop imaginative and dramatic interest or allegorical and typological commentary. Thus Juvencus and "Cyprianus" Gallus, the straightforward paraphrase-makers of the New and Old Testaments respectively, are set apart, usually with disparagement, from Proba, Sedulius, Victorius, Dracontius, Avitus, and Arator, the poets who are noted, and sometimes praised, for exercising a degree of poetic or exegetical freedom from the sacred text.
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Dissertations / Theses on the topic "Allegorical Commentary"

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Ryu, Bobby Jang Sun. "Knowledge of God in Philo of Alexandria with special reference to the Allegorical Commentary." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:3a849607-f23b-4d0f-b25f-51e084795c83.

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This thesis is a context-sensitive study of key epistemological commitments and concerns presented in Philo’s two series of exegetical writings. The major conclusion advanced in this thesis is that two theological epistemologies, distinct yet related, can be detected among these writings. The first epistemology is specific to the Allegorical Commentary. The second epistemology is specific to the ‘Exposition of the Law.’ The epistemology of the Allegorical Commentary reflects a threefold conviction: the sovereignty of God, the creaturely contingency of the human mind and its inescapable limitations. In conversation with key epistemological notions of his day, Philo develops this threefold conviction in exegetical discourses that are grounded in Pentateuchal texts portraying the God of Moses as both possessing epistemic authority and aiding the aspiring mind to gain purification and perfection in the knowledge of God. Guided by this threefold conviction, Philo enlists key metaphors of his day – initiation into divine mysteries and divine inspiration, among others –in order to capture something of the essence of Moses’ twofold way of ascending to the divine, an approach which requires at times the enhancement of human reason and at other times the eviction of human reason. The epistemology of the ‘Exposition’ reflects Philo’s understanding of the Pentateuch as a perfect whole partitioned into three distinct yet inseverable parts. Philo’s knowledge discourses in the ‘creation’ part of the ‘Exposition’ reflect two primary movements of thought. The first is heavily invested with a Platonic reading of Genesis 1.27 while the second invests Genesis 2.7 with a mixture of Platonic and Stoic notions of human transformation and well-being. Philo’s discourses in the ‘patriarchs’ segment reflect an interest in portraying the three great patriarchs as exemplars of the virtues of instruction (Abraham), nature (Isaac), and practice (Jacob) which featured prominently in Greek models of education. In the ‘Moses’ segment of the ‘Exposition,’ many of Philo’s discourses on knowledge are marked by an interest in presenting Moses as the ideal king, lawgiver, prophet and priest who surpasses Plato’s paradigm of the philosopher-king. In keeping with this view, Philo insists that the written laws of Moses represent the perfect counterpart to the unwritten law of nature. The life and laws of Moses serve as the paradigm for Philo to understand his own experiences of noetic ascent and exhort readers to cultivate similar aspirational notions and practices.
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Sherman, Hazel. "Reading Zechariah: an attempt to assess the allegorical tradition of biblical interpretation through the commentary of Didymus the blind." Thesis, University of Birmingham, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492695.

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OTTOBRINI, TIZIANO. "SOPRA IL "DE OPIFICIO MUNDI" DI GIOVANNI FILOPONO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2016. http://hdl.handle.net/10280/11131.

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I sette libri del "De opificio mundi" dell'alessandrino Giovanni Filopono (metà VI p.Ch.) sono il primo commento speculativo alla pericope cosmopoietica del Genesi mediante la fruizione di categorie filosofiche aristoteliche. Presentandone la prima traduzione italiana, si illustra il conato di novità che il Filopono esercita nell'esegesi biblica giacché interpreta Genesi non già attraverso il paradigma demiurgico del "Timeo" platonico, come in àmbito giudaico (Aristobùlo e Filone Ebreo) e nella produzione esameronale patristica (Cappàdoci), bensì attingendo alle opere fisiche e logiche dello Stagirita. Invece della struttura mitico-allegorica sottesa alla lettura cristiana del "Timeo" si impone l'approccio analitico di Aristotele: Filopono rifiuta l'interpretazione allegoretica, impiegando l'argomentazione sillogistico-deduttiva dell'"Organon" aristotelico, ricorrendo a filosofemi cardinali in Aristotele e nella tradizione scientifica che dal medesimo fiorì in Alessandria. Così Filopono in-venta un nuovo modello esegetico: superando l'allegorismo tradizionale (arbitrario e infedele al messaggio rivelato) e il letteralismo della scuola antiochena di Teodoro di Mopsuestia, Teodoreto, Cosma (banalizzante e senza metodo critico) Filopono conia un letteralismo metodologicamente forte, ove il metodo proviene formalmente dalla logica aristotelica e contenutisticamente dalla fisica aristotelica. Già commentatore dello Stagirita, Filopono fa incontrare Rivelazione e filosofia aristotelica, lasciando nel "De opificio mundi" un singolarissimo prodromo della scolastica cristiana.<br>The present essay is meant to illustrate the philosophical and exegetic work intitled "De opificio mundi" (seven books) written by John Philoponus in Alexandria in the middle of the sixth century A.D. about the kosmopoiesis of the first chapter of Genesis. It is argued this treatise is the first evidence of Biblical exegesis led not according to Plato's "Timaeus" but according to Aristotelian corpus, specially "Physics" and "Organon". Philoponus rejects the allegorical method based upon demiurgic "Timaeus" since he thinks it is arbitrary and untrue compared with the Revelation literalism; therefore Philoponus passes the limit of Aristoboulos, of Philo's "De opificio mundi" and also the limit of Christian tradition of Hexaemerons (Fathers of the Church just like Cappadocians). Philoponus replaces allegorism with a new kind of Biblical literalism: not the trivializing one led by the school of Antioch (Theodore of Mopsuestia, Theodoret of Cyrrhus, Cosmas Indicopleustes) but a scientific and methodic literalism relied on Aristotelian logic and on the (meta)physical concepts derived from Aristotle (kinesis, dynamis, hexis, hypokeimenon, etc.); so "De opificio mundi" has a syllogistic and deductive structure, not a mythic-allegorical one. Last philosopher in Late Antiquity, Philoponus is in-ventor of a striking Christian-Aristotelian scholasticism.
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Books on the topic "Allegorical Commentary"

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Commentary on Zechariah. Catholic University of America Press, 2005.

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Sherman, Hazel Ellen. Reading Zechariah: An attempt to assess the allegorical tradition of Biblical interpretation through the commentary of Didymus the blind. University of Birmingham, 1995.

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Radice, Roberto. Allegoria e paradigmi etici in Filone di Alessandria: Commentario al Legum allegoriae. Vita e pensiero, 2000.

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La philosophie de Moïse: Essai de reconstitution d'un commentaire philosophique préphilonien du Pentateuque. J. Vrin, 1987.

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Philo. Tutti i trattati del Commentario allegorico alla Bibbia. Bompiani, 2005.

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Philo. Tutti i trattati del Commentario allegorico alla Bibbia. Rusconi, 1994.

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Moshe, Schapiro, and Elijah ben Solomon 1720-1797, eds. The book of Yonah =: [Sefer Yonah] : [with] "Journey of the soul", an allegorical commentary adapted from the Vilna Gaon's Aderes Eliyahu. Mesorah, 1997.

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Zlotowitz, Meir. Shir Hashirim/Song of Songs: An Allegorical Translation Based Upon Rashi with a Commentary Anthologized from Talmudic, Midrashic, and Rabbinic Sour. Mesorah Publications, Limited, 1997.

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Schapiro, Moshe. Journey of the Soul: The Vilna Gaon on Yonah/Johan: An Allegorical Commentary Adapted from the Vilna Gaon's Aderes Eliyahu (Artscroll Judaica Classics). Mesorah Publications, Limited, 1997.

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Schapiro, Moshe. Journey of the Soul: The Vina Gaon on Yonah/Jonah: An Allegorical Commentary Adapted from the Vina Gaon's Aderes Eliyahu (Artscroll Judaica Classics). Mesorah Publications, Limited, 1997.

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Book chapters on the topic "Allegorical Commentary"

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Fumo, Jamie C. "Commentary and Collaboration in the Medieval Allegorical Tradition." In A Handbook to the Reception of Ovid. John Wiley & Sons, Inc, 2014. http://dx.doi.org/10.1002/9781118876169.ch8.

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Ciccone, Lisa. "«Ut testatur Ovidius»: Boccaccio lettore dei commenti alle Metamorfosi." In Intorno a Boccaccio / Boccaccio e dintorni 2019. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-236-2.05.

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The article investigates the relationship between Boccaccio's Genealogie and the exegesis of Ovid's Metamorphoses. For each character included in his genealogy, Boccaccio reports first of all the contents of the myth related to it and then the different literal and allegorical interpretations. The main sources are, besides Ovid, Paolo da Perugia and a mysterious Theodontius, who can be identified with a commentary on the Metamorphoses produced in the 11th or 12th century. The article aims to demonstrate that Boccaccio follows the method used by medieval exegetes of the Metamorphoses: rejecting the pagan contents of the myth, the commentators offered an allegorical and moralising interpretation, in fact rewriting the Metamorphoses as a 'medieval' work.
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Niehoff, Maren R. "A Platonic Self." In Philo of Alexandria. Yale University Press, 2018. http://dx.doi.org/10.12987/yale/9780300175233.003.0010.

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This chapter examines the contours of the self in Philo's Allegorical Commentary. Throughout the Allegorical Commentary, Philo is concerned with the human self, introducing to Judaism a new language of introspection and spirituality. Interpreting the book of Genesis allegorically, he leads the reader from the concrete figures of the Bible to the intricacies of the human soul. The aim is to know oneself and the ethereal realities that cannot be grasped by the senses. Philo himself is turned inward, observing the struggle of his soul between material and rational elements. He neither reflects yet upon himself as an author in the text nor shares experiences from life in the world. The center of his ethics is God, whom humanity is called to imitate. This upward view to real values transcends the world and disconnects the individual from society.
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Niehoff, Maren R. "Biblical Commentary." In Philo of Alexandria. Yale University Press, 2018. http://dx.doi.org/10.12987/yale/9780300175233.003.0009.

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This chapter looks at Philo's biblical commentaries. Philo's commentary activity on the Jewish Scriptures must be appreciated in the context of Alexandria, where he became familiar with critical methods of scholarship and engaged in a lively dialogue with colleagues in the Jewish community. He developed an innovative approach, stressing the textual difficulties or “stumbling-blocks” in the Bible and using them as stepping stones for allegorical interpretation. Philo argued that the imperfection of the biblical text was intentional, as Moses thus wished to alert his readers to a higher spiritual meaning. Philo is moreover the first known interpreter who made extensive use of secondary and tertiary texts, innovatively adducing verses from the Prophets and Psalms in order to interpret Genesis. This intertextual approach enabled him to uncover a mystical meaning in the Pentateuch that hinted at the soul's ascent to God, often described in overtly sexual imagery.
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"Between Rewritten Bible and Allegorical Commentary: Philo’s Interpretation of the Burning Bush." In Rewritten Bible after Fifty Years: Texts, Terms, or Techniques? BRILL, 2014. http://dx.doi.org/10.1163/9789004271180_013.

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Strouse, A. W. "Saint Augustine and the Boy with the Long Foreskin." In Form and Foreskin. Fordham University Press, 2021. http://dx.doi.org/10.5422/fordham/9780823294749.003.0003.

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Augustine—who in the Confessions echoes Moses in praying that God will “circumcise [his] physical and spiritual [lips] from all presumption and deceit”—deploys Paul’s allegorical reading of un/circumcision in his commentary on Genesis, De Genesi ad litteram. Here he relates the story of a boy whose “immoderately long” foreskin troubles him with fits and theological visions, during which he is directed to be circumcised and then baptized. Augustine uses this narrative to illustrate his theory of layered exegesis.
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Cassin, Barbara. "The Presence of the Sophist in Our Time." In Jacques the Sophist. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823285754.003.0003.

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Cassin distinguishes between the way Freud read the Greeks, reinterpreting their great myths in allegorical fashion, and Lacan’s more nuanced attention to the philosophical arguments, notably of the Sophists and Presocratics, and their understanding of language, speech, or logos. As Lacan says, “The psychoanalyst is a sign of the presence of the sophist in our time, but with a different status,” and Jacques the Sophistbecomes an extended commentary on this sentence.Sophistry is often presented as philosophy’s negative alter ego, its bad other, yet the two are shown to be inextricably bound together. Cassin uses the term “logology,”coined by Novalis, to connect the shared approach of both Lacan and the Sophists to language, which becomes uncoupled from universal truth as an Aristotelian frame of reference.
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Mayhew, Robert. "Aristotle on the Theomachy in Iliad 21." In Aristotle's Lost Homeric Problems. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198834564.003.0009.

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The focus of this chapter is the Theomachy of Iliad 21. In this connection, two relatively neglected texts are examined: One is from an Oxyrhynchus papyrus containing a commentary on Iliad 21 (the Homeric problem discussed is: Why did Poseidon and Athena encourage Achilles, but not help him, in his battle with the river Scamander?). The other is from a lengthy scholium (the Homeric problem discussed is: Why, in Iliad 5, does Zeus chastise Ares, as being always fond of war, whereas in Iliad 21, Zeus watches with pleasure as the gods take sides in the war and fight each other?). These are important fragments in their own right, but also in connection with the question of whether Aristotle ever engaged in allegorical interpretation.
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Niehoff, Maren R. "An Utterly Transcendent God and His Logos." In Philo of Alexandria. Yale University Press, 2018. http://dx.doi.org/10.12987/yale/9780300175233.003.0011.

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This chapter details how, in the Allegorical Commentary, Philo develops a theology that significantly differs from his position in the Exposition, where he elevates the creation to a Jewish dogma. At the beginning of his career he intensively engaged the discourses of his hometown Alexandria and adopted a typical orientation toward Platonism and Pythagoreanism with their characteristic emphasis on transcendence. He developed these ideas further than his predecessors and formulated for the first time a negative theology that posits an unknowable God beyond good and evil. Philo also interprets the Jewish Scriptures creatively and develops a theory of the Logos as an intermediary figure that permits human beings to approach the divine realm without compromising God. Many of Philo's ideas subsequently resurface in Gnostic and Platonic authors, who may have been inspired by him, as many of them hailed from Alexandria.
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Niehoff, Maren R. "Biblical Ladies in Roman Garb." In Philo of Alexandria. Yale University Press, 2018. http://dx.doi.org/10.12987/yale/9780300175233.003.0007.

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This chapter addresses Philo's refashioning of the biblical women in the Exposition of the Law, which differs significantly from his interpretation of them in Allegorical Commentary. They no longer symbolize the dangerous body with its passions, best to be left behind, but rather have become exemplary wives, mothers, and daughters who play an active role in the history of Israel. This dramatic change of perspective can be explained in terms of Philo's move from Alexandria to Rome. While gender issues were not discussed in the philosophical circles of his home city, he later encountered lively philosophical discussions in Rome on the role of women in society. His new image of the biblical women in the Exposition closely corresponds to his view of the Roman empress Livia, whose clear-sightedness, strength, and loyalty he appreciates. The biblical women likewise become real historical figures whom Philo interprets sympathetically from within.
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