Academic literature on the topic 'Allegorical figure'
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Journal articles on the topic "Allegorical figure"
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Abugideiri, Hibba. "Allegorical Gender." American Journal of Islam and Society 13, no. 4 (1996): 518–35. http://dx.doi.org/10.35632/ajis.v13i4.2296.
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IntroductionIn the last decade, a number of monographs and forays in the field ofMuslim women’s studies have attempted to examine the place of theMuslim woman in the interpretive heritage of Islamic exegetical texts, particulythe hadith tufsir literature from the period of classical Islam.’ The figureof Eve (Hawwa’ in Qur’anic terminology) is an inevitable topic of discussionin all of these scholarly studies, primarily due to her definitive rolein the evolution of gender categories in the Islamic exegetical texts, and,subsequently, how this role has become an indicator of direction for theMuslim woman’s identity. The figure of Eve, in short, as articulated byMuslim classical exegetes, has not ony defined the identity of Muslimwoman; it has also set the parameters for how that identity has been forged.Yet, the traditional view of Eve portrays woman as both physically andmentally inferior to man, as well as spiritually inept. This classical interpretationof Eve has come to be endowed with sacred authority, more so byvirtue of its place in our Islamic past than by any Qur’anic sanction.This is not to imply that all of the medieval classical writings on Islamconstitute a monolithic whole. After all, the sources of the Shari‘ah, namely,the Qur’an and the hadith, historically have been highly adaptable texts:In the case of the Qur’an, its directives are general, broad, and flexiblein most cases; therefore they could be translated into the termsof a specific social reality of each generation of interpreters.Concerning the hadith . . . given the inevitable gap between theactual and the idealized. . . it is not surprising that the Hadith containsan abundance of varied and often contradictory traditions, ...
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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 part of the reader’s visual, non-sequential experience of the text and provides a satisfying and meaningful image for Christians.
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Grumett, David. "Action and/or contemplation? Allegory and liturgy in the reception of Luke 10:38–42." Scottish Journal of Theology 59, no. 2 (2006): 125–39. http://dx.doi.org/10.1017/s0036930606002195.
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The brief account of the hospitality offered by Martha and Mary to Jesus has been interpreted allegorically in at least three different ways. The majority tradition has identified the figure of Mary with contemplation, and considered this to be the ‘one thing necessary’ to Christian life. Meister Eckhart suggests, however, that Martha, representing action, has chosen the better part, and Aelred of Rievaulx that action and contemplation are both commended. Feminist and other recent interpretations continue, sometimes unconsciously, to draw on this allegorical tradition. The theological importance and significance of the passage has been due largely to its use as the gospel reading for the feast of the Assumption of Mary the mother of Jesus.
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Paxson, James J. "Personification's Gender." Rhetorica 16, no. 2 (1998): 149–79. http://dx.doi.org/10.1525/rh.1998.16.2.149.
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Abstract: The fact that classical and early medieval allegorical personifications were exclusively female has long perplexed literary scholars and rhetoricians. Although arguments have been made about this gendering using grammatical formalism for the most part, an examination of rhetoric's own deep structure—that is, the discursive metaphors it has always employed to talk about tropes and figures—promises to better articulate the gendered bases of the figure. Using analytical tactics drawn from Paul de Man's discussions of prosopopeia, this essay re-examines some of the rhetorical record along with programmatic imagery from patristic writings in order to demonstrate how women theinselves could serve as the “figures of figuration.”
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Pradeep Shinde, Pooja. "Portrayal of R.K. Narayan’s ‘The Man-Eater of Malgudi’ as an Allegorical Novel: An Overview." Shanlax International Journal of English 9, no. 1 (2020): 13–15. http://dx.doi.org/10.34293/english.v9i1.3440.
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This article deals with R.K. Narayan’s The Man-Eater of Malgudi as an allegorical novel. An allegorical story tries to entertain the reader through theuse of extended metaphor in which characters, plot, abstract ideas represents not only moral lessons but also explains story hidden underneath. In R.K. Narayan’s The Man-Eater of Malgudi, the author has profoundly used allegorical element to explain the relationship between Natraj and Vasu. Natraj, a well- to- do printer of the town lives his life peacefully but he gets outraged with the arrival of Vasu. Vasu is just like Shakespeare’s Lago in Othello who is an embodiment of self-destruction. He has been called the Man-Eater of Malgudi who tries to suppress the innocent lives of Malgudi. The author has used the mythological term,‘Bhasmasura’ to explain the demonic attributes of Vasu. He kills innocent animals, seduces women, threatens people of Malgudi and seeks pleasure out of it. He considers himself as supreme figure which leads him to his doom. R.K. Narayan through Vasu’s character has highlighted that who are prideful will bring about their self-destruction. In allegorical view, the author has depicted the sad reality of modern society where people like Vasu try to squash the innocent people.
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Rampling, Jennifer M. "Depicting the Medieval Alchemical Cosmos." Early Science and Medicine 18, no. 1-2 (2013): 45–86. http://dx.doi.org/10.1163/15733823-0003a0003.
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Alchemical images take many forms, from descriptive illustrations of apparatus to complex allegorical schemes that link practical operations to larger cosmological structures. I argue that George Ripley’s famous Compound of Alchemy (1471) was intended to be read in light of a circular figure appended to the work: the Wheel. In the concentric circles of his “lower Astronomy,” Ripley provided a terrestrial analogue for the planetary spheres: encoding his alchemical ingredients as planets that orbited the earthly elements at the core of the work. The figure alludes to a variety of late medieval alchemical doctrines. Yet the complexity of Ripley’s scheme sometimes frustrated later readers, whose struggles to decode and transcribe the figure left their mark in print and manuscript.
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Behrmann, Carolin. "Metrics of Justice." Nuncius 30, no. 1 (2015): 161–94. http://dx.doi.org/10.1163/18253911-03001007.
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This paper examines a polyhedral dial from the British Museum made by the instrument maker Ulrich Schniep, and discusses the status of multifunctional scientific instruments. It discerns a multifaceted iconic meaning considering different dimensions such as scientific functionality (astronomy), the complex allegorical figure of Justice (iconography), and the representation of the sovereign (politics), the court and the Kunstkammer of Albrecht V of Bavaria. As a numen mixtum the figure of “Justicia” touches different fields that go far beyond pure astronomical measurement and represents the power of the ruler as well as the rules of economic justice.
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Odesskii, Mikhail P. "THE CAREER OF THE GOD MARS IN THE PANEGYRIC LITERATURE OF THE PETER I'S EPOCH." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 10 (2020): 32–40. http://dx.doi.org/10.28995/2686-7249-2020-10-32-40.
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The article analyzes the function of the emblematic system and in particular the allegorical figure of the God Mars in Russian panegyric literature. In Peter I‘s epoch this allegory was actively used to formalize the new Imperial ideology. In panegyric dramas the image of the God Mars served to personify the highest values of the Empire: the new warlike Russia, the most heroized sovereign, the Russian army.
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Kaniški, Ana. "Two Examples of Allegorical Figure of Death as a Skeleton in the Northwest Croatian Art." IKON 4 (January 2011): 313–18. http://dx.doi.org/10.1484/j.ikon.5.100706.
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McElroy, Erin. "Digital nomads in siliconising Cluj: Material and allegorical double dispossession." Urban Studies 57, no. 15 (2019): 3078–94. http://dx.doi.org/10.1177/0042098019847448.
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This paper studies the arrival of digital nomads in Cluj, Romania. I focus upon double dispossession, in which ‘digital nomads’ allegorise technocapitalist fantasies by appropriating Roma identity on one hand, and in which Roma are evicted to make way for the arrival of Western digital nomads and tech firms on the other. While Roma are materially dispossessed as Cluj siliconises, they are doubly dispossessed by the conjuration of the deracinated digital nomad/Gypsy. As I suggest, this figure discursively drags with it onto-epistemological residues of 19th-century Orientalism – a literary genre that emerged within the heart of Western European empires. The recoding of the nomad today, I argue, indexes the imperiality of technocapitalism, or techno-imperialism. Double dispossession, as a phenomenon, illuminates that prior histories bolster, and are consumed by, globalising techno-imperialism. Postcolonial and postsocialist studies offer frameworks for understanding this update, as well as the accumulative and multifaceted dispossession that siliconisation inheres. I thus argue for a connected rather than comparative approach in understanding double dispossession, one focused upon connections across time, space and genre. A connected approach remains rooted in community organising and housing justice struggles.
Dissertations / Theses on the topic "Allegorical figure"
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Saket, Walid. "Le concept de "personnage poétique" dans Les Fleurs du Mal et Le Spleen de Paris de Charles Baudelaire : Fonctions et significations." Thesis, Clermont-Ferrand 2, 2014. http://www.theses.fr/2014CLF20015/document.
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Tenter de cerner le concept de ‘’personnage poétique’’ dans Les Fleurs du Mal et Le Spleen de Paris et essayer d’en déduire les fonctions et les significations, tels sont les objectifs du présent travail. Un processus de conceptualisation fait l’objet de notre première partie qui s’appuie sur les critiques existantes à ce sujet pour donner les statuts adéquats aux êtres peuplant ces deux œuvres. On s’est proposé de voir à travers des exemples précis le traitement que réserve l’œuvre baudelairienne à ce concept, notamment quand il s’agit de passer du poème en vers au poème en prose. Ainsi, des notions limitrophes ont émergé au fil de notre analyse, comme la notion de “figure allégorique” ou “mythique”. Parler de ‘’personnage poétique’’ est donc fort délicat surtout à l’aune de la variation générique qui impose des nuances contraignantes. Mais le fait est là : nous pensons légitime d’attribuer le statut de personnage à certains des sujets qui traversent Les Fleurs du Mal ou Le Spleen de Paris. En effet, ils sont définissables suivant les critères réservés généralement au personnage à savoir, le faire, le dire, la dimension psychologique. Néanmoins, ce statut n’est pas aussi évident quand on constate que dans ces deux œuvres le même sujet peut parfois conjointement relever du traitement de personnage et de figure. Ce travail étant réalisé, notre tâche était d’étudier les fonctions de ces ‘’personnages’’ et de ces ‘’figures’’ dans le cadre de l’esthétique générale de Baudelaire. Dès lors, on a pu voir un processus de dédoublement et de dialogisme se déclencher entre le poète et ses alter ego, qui incarnent ses revendications et ses convictions esthétiques avant-gardistes<br>The objectives of the present work are attempting to define the concept of'' poetic character” in'' Les Fleurs du Mal” and” Le Spleen de Paris” as well as trying to deduce the functions and meanings implied in that concept. A process of conceptualization will be our first part .This part will rely on existing critics on this subject to finally give the appropriate statutes to creatures inhabiting these two works. We suggested to study through specific examples the way the works of Baudelaire treat this concept particularly when it comes to moving from free verse poem to prose poem. Thus, adjacent concepts have emerged in the course of our analysis such as the notion of mythical or allegorical figure. Talking about '' poetic character “is so delicate especially in this generic difference that imposes binding shades of meaning. But the fact is that we were able to grant the status of characters to many creatures whether in ‘Les Fleurs du Mal ‘or in ‘Spleen de Paris’. In fact, they can be defined according to the criteria usually reserved to character i.e., do, say, the psychological dimension… However, this status is not that evident when we notice that in these two works the same creature could sometimes jointly be treated as character and figure. Once this work was done, our task was to study the functions of these'' characters'' and '' figures'' in the context of the overall aesthetics of Baudelaire. Consequently, we could see a process of duplication and dialogism between the poet and his creatures. Tackled as his doubles; these creatures embody the poet’s claims and his avant-gardist aesthetic convictions
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Gaitan, Juan Andres. "Indigenous as an allegorical figure in Antonio Caro’s Homenaje a Manuel Quintin Lame and Cildo Meireles’ Zero Cruzeiro." Thesis, 2004. http://hdl.handle.net/2429/15470.
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This thesis will look at two works of art from the 1970s: Homenaje a Manuel
Quintfn Lame (1972) by the Colombian artist Antonio Caro, and Zero Cruzeiro (1974) by
the Brazilian artist Cildo Meireles. In the context of this thesis these works are linked
through the reference that both make to indigenous peoples. I argue that their reference to
indigenous peoples is laden with a number of complexities that derive from the wide
range of political concerns that these artworks addressed. The political panoramas of
Colombia and Brazil during the 1970s were primarily framed by an opposition between
the peasant movements, which had a nationalist programme, and capitalist
developmentalism, which had an internationalist programme. In this sense, the
representation of indigenous peoples depended on the spaces they might have occupied
within local political landscapes. However, in Colombia and Brazil, the emergence of
indigenous organizations, and their detachment from other organisms to which their own
struggle for self-determination had been hitherto tied, was an important event during the
early 1970s in both Colombia and Brazil. Thus the reference to the indigenous in these
works also runs parallel to what is now called a "third space" in politics at the time. I
argue that, even if indirectly, these works attended to the restructuring of strategies at the
level of indigenous struggles for self-determination.
On a second level, I take issue with the ways in which these two works have been
linked through the category Latin American Conceptualism, of which they figure today as
important examples. This category has been structured around the idea that the works it
represents are "more political" than the North American or European counterparts. In this
thesis I question the validity of this claim on the basis of it being too superficial to be
useful for expounding the complexities of the respective realities that surrounded these
works at the time in which they emerged. In this sense, the reference that these works
make to indigenous peoples provide an important way for approaching the specificities of
the political realities outlined above, as well as a way to dislocate these works from facile
generalization such as those found in categories such as Conceptualism or "Political Art."
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Yang, Yen-Ling, and 楊燕玲. "Transcend the Predicament of theAppearance – The Analysis of The Allegorical Figures of Chapter “ De Chong Fu”in“Zhuangzi”." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/02110721416047674015.
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碩士<br>華梵大學<br>哲學系碩士班<br>96<br>ABSTRACT
Zhuang Zi lived in an era of turbulence. He perceived that people often suffered from a dilemma accompanied by “the emotions” and “the appearance”. As a result, he proposed his unprecedented philosophy about “virtue, appearance, and emotions" to remind people looking at the goodness of spirits. Without the constriction of the outward appearance, people could release themselves from the fetters and perappearance good virtues to accommodate the unchangeable destiny and environment.
In <De Chong Fu>, Zhuang Zi characterized the mutilated as the perfect person with sound rectitude. The uglier and powerless a person was, the more virtuous he would be. By the concept of deformity, Zhuang Zi intended to release people’s minds from the constraints of the outward appearance to the inner spiritual world. Whether the figure is perfect or not should not be the concern of our life. On the contrary, virtues are the ones men should practice to promote the spiritual life and to find the direction of life.
Zhuang Zi also initiated the issue of “de-emotion” to cease the burden of emotions and to cultivate the virtues in spiritual life. However, people went on the opposite way. They thought “the appearance” and “the emotions” constructed the real world, which was challenged by Zhuang Zi. He claimed that the emotions were always troublesome. He pointed out that without emotions, virtues could be cultivated without the disturbance of right or wrong and likes or dislikes.
Will the doctrine in <De Chong Fu> practical? Could it be implemented in our real life? I found that there really existed many virtuous persons who had broken the restrictions of the appearance and achieved a state of harmony and reflection. They transcended the limitation of escapeless destiny and lived in a harmonious life. I expect myself to learn more about the profound meaning in the chapter, which will assist me to implement and cultivate inner virtues. The state of inner harmony could help me to overcome the inevitable obstacles and promote the quality of life.
The values of “virtues”, “appearance”, and “emotion” help me to excel my judgment to live a virtuous life.
Key Word：release、fetters 、de-emotion
Books on the topic "Allegorical figure"
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Hill, Peter. Signatures of style: Introducing Tamanend, an allegorical figure of the New Republic. P. Hill, 2001.
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Dare forma humana a l'Honore et a la Virtù: Giovanni Guerra (1544-1618) e la fortuna delle figure allegoriche da Mantegna all'Iconologia di Cesare Ripa. Bulzoni, 2008.
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Zeeman, Nicolette. The Arts of Disruption. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198860242.001.0001.
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The Arts of Disruption offers a series of new readings of the allegorical poem Piers Plowman: but it is also a book about allegory. It argues not just that there are distinctively disruptive ‘arts’ that occur in allegory, but that allegory, because it is interested in the difficulty of making meaning, is itself a disruptive art. The book approaches this topic via the study of five medieval allegorical narrative structures that exploit diegetic conflict and disruption. Although very different, they all bring together contrasting descriptions of spiritual process, in order to develop new understanding and excite moral or devotional change. These five structures are: the paradiastolic ‘hypocritical figure’ (such as vices masked by being made to look like ‘adjacent’ virtues), personification debate, violent language and gestures of apophasis, narratives of bodily decline, and grail romance. Each appears in a range of texts, which the book explores, along with other connected materials in medieval rhetoric, logic, grammar, spiritual thought, ethics, medicine, and romance iconography. These allegorical narrative structures appear radically transformed in Piers Plowman, where the poem makes further meaning out of the friction between them. Much of the allegorical work of the poem occurs at the points of their intersection, and within the conceptual gaps that open up between them. Ranging across a wide variety of medieval allegorical texts, the book shows from many perspectives allegory’s juxtaposition of the heterogeneous and its questioning of supposed continuities.
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Raffe, Alasdair. John Bull, Sister Peg, and Anglo-Scottish Relations in the Eighteenth Century. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198736233.003.0002.
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This chapter analyses John Arbuthnot’s The History of John Bull (1712), an allegorical satire of the War of the Spanish Succession. As well as introducing the figure of John Bull, who became a recognizable symbol of the English people, Arbuthnot featured Bull’s sister Peg, who represents Scotland. With these characters, Arbuthnot provided an insightful interpretation of the passage of the Anglo-Scottish Union. The chapter goes on to discuss the many eighteenth-century imitators of Arbuthnot’s satire. Few featured Sister Peg or commented on Scotland’s place in the Union. The main exceptions were works by Scots, notably Adam Ferguson’s History of the Proceedings in the Case of Margaret, Commonly called Peg (1761), and other literary works and visual satires of the early 1760s, a time of intense Anglo-Scottish rivalries.
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Majumder, Doyeeta. Tyranny and Usurpation. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786941688.001.0001.
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This book examines the fraught relationship between the sixteenth-century formulations of the theories of sovereign violence, tyranny and usurpation and the manifestations of these ideas on the contemporary English stage. It will attempt to trace an evolution of the poetics of English and Scottish political drama through the early, middle, and late decades of the sixteenth-century in conjunction with developments in the political thought of the century, linking theatre and politics through the representations of the problematic figure of the usurper or, in Machiavellian terms, the ‘New Prince’. While the early Tudor morality plays are concerned with the legitimate monarch who becomes a tyrant, the later historical and tragic drama of the century foregrounds the figure of the illegitimate monarch who is a tyrant by default. On the one hand the sudden proliferation of usurpation plots in Elizabethan drama and the transition from the legitimate tyrant to the usurper tyrant is linked to the dramaturgical shift from the allegorical morality play tradition to later history plays and tragedies, and on the other it is reflective of a poetic turn in political thought which impelled political writers to conceive of the state and sovereignty as a product of human ‘poiesis’, independent of transcendental legitimization. The poetics of political drama and the emergence of the idea of ‘poiesis’ in the political context merge in the figure of the nuove principe: the prince without dynastic claims who creates his sovereignty by dint of his own ‘virtu’ and through an act of law-making violence.
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Milbank, Alison. Cain’s Castles. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824466.003.0002.
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In Chapter 1, the Reformation is presented as the paradigmatic site of Gothic escape: the evil monastery can be traced back to Wycliffe’s ‘Cain’s castles’ and the fictional abbey ruin to the Dissolution. Central Gothic tropes are shown to have their origin in this period: the Gothic heroine is compared to the female martyrs of Foxe’s Acts and Monuments; the usurper figure is linked to the papal Antichrist; and the element of continuation and the establishment of the true heir is related to Reformation historiography, which needs to prove that the Protestant Church is in continuity with early Christianity—this crisis of legitimacy is repeated in the Glorious Revolution. Lastly, Gothic uncovering of hypocrisy is allied to the revelation of Catholicism as idolatry. The Faerie Queene is interpreted as a mode of Protestant Gothic and Spenser’s Una provides an allegorical gesture of melancholic distance, which will be rendered productive in later Gothic fiction.
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Tambling, Jeremy. Bunyan, Emblem, and Allegory. Edited by Michael Davies and W. R. Owens. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199581306.013.19.
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This chapter discusses John Bunyan in relation to five versions of allegory, in turn: personification; allegorical narratives, and Bunyan’s use of the allegorical framework of the dream, popular in the medieval period; the concept of figura, as developed by Erich Auerbach; emblems and emblematic allegory; and pictorial symbols as allegory. Finally, the chapter considers the work of Walter Benjamin and Paul de Man, and discusses the radical uses of allegory in critiquing ideological meanings and the view that language is inherently allegorical, which destabilizes both authors and their utterance, making all expression ironic, taking irony as a form of allegory. Although focusing mainly on The Pilgrim’s Progress, the chapter also discusses Bunyan’s use of allegory in his other fictional works.
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Miano, Daniele. Fortuna. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198786566.001.0001.
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This book focuses on the Latin goddess Fortuna, one of the better known deities in ancient Italy. The earliest forms of her worship can be traced back to archaic Latium, and she was still a widely recognized allegorical figure during the Middle Ages and the Renaissance. The main reason for her longevity is that she was a conceptual deity, and had strong associations with chance and good fortune. When they were interacting with the goddess, communities, individuals, and gender and age groups were inevitably also interacting with the concept. These relations were not neutral: they allowed people to renegotiate the concept, enriching it with new meanings and challenging established ones. The geographical and chronological scope of this book is Italy from the archaic age to the late Republic. In this period Italy was a fragmented, multicultural and multilinguistic environment, characterized by a wide circulation of people, customs, and ideas, in which Rome played an increasingly dominant role. All available sources on Fortuna have been used: literary, epigraphic, and archaeological. The study of the goddess based on conceptual analysis will serve to construct a radically new picture of the historical development of this deity in the context of the cultural interactions taking place in ancient Italy. The book also aims at experimenting with a new approach to polytheism, based on the connection between gods and goddesses and concepts.
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Neuwirth, Angelika. Locating the Qurʾan and Early Islam in the ‘Epistemic Space’ of Late Antiquity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198748496.003.0005.
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Locating the qur’anic event in Late Antiquity, understood not as a historical epoch but an epistemic space, the chapter focuses on textual strategies rather than on the transfer of semantic knowledge or extra-textual circumstances. Qurʾanic speech oscillates between literal and ‘allegorical’ expression. Among the last mentioned, typology, hitherto widely neglected—although perhaps the most representative textual practice in the late antique culture of debate—appears a useful key to the question of the qur’anic community’s rapid development of a theology of its own and its attainment of social coherence. Sifting the changing modes of qur’anic typology—from the ‘simple’ mode of restaging biblical events and the mimesis of biblical figures via the more demanding pattern of promise and fulfilment to the daringly innovative mode: mythopoiesis—allows us to trace the successive stages of the first listeners’ construction of a communal identity of their own.
Book chapters on the topic "Allegorical figure"
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Christian, Margaret. "Traditional scriptural interpretation and sixteenth-century allegoresis: old and new." In Spenserian Allegory and Elizabethan Biblical Exegesis. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9780719083846.003.0002.
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Allegoresis is interpreting a text written with straightforward literal intent as if it were an allegory. In typology, a literal person or object is treated as an anticipatory example of someone or something to come. The Bible was the most important text subject to this kind of reading, including by New Testament writers. A sampling of commentaries on the parable of the sower (Matthew 13) and the rivalry between Mary and Martha (Luke 10) demonstrates the stability of allegorical readings from the patristic to the early modern era. Although the extent to which the Bible was properly read allegorically was hotly debated in the sixteenth century, even William Tyndale’s practice had much in common with traditional four-fold interpretation. Marginal glosses from the Geneva Bible indicate the general acceptance (and by extension, the transparency) of allegorical reading. Spenser’s use of words like “type,” “shadow,” “image,” and “figure” refer to traditional biblical exegesis, adapting a method familiar to Elizabethans from religious sources.
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Mourenza, Daniel. "Charlie Chaplin: The Return of the Allegorical Mode in Modernity." In Walter Benjamin and the Aesthetics of Film. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462980174_ch04.
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This chapter addresses Walter Benjamin’s writings on Charlie Chaplin as a project to rehabilitate allegory in the 20th century. This project is evaluated in connection with Kafka and Brecht, since Benjamin approached all of these figures through the concept of Gestus. Benjamin discerned in film the prospect of undoing the numbing of the senses, which had become deadened as a consequence of the shock experience of modern life. In connection with Kafka and Brecht, this chapter analyses Chaplin as a paradigmatic cinematic figure to counteract the alienation of human beings in a technologically saturated modernity through his gestic and allegorical performance.
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Swann, Karen. "Introduction." In Lives of the Dead Poets. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823284184.003.0001.
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This chapter lays out the book’s terrain and argument. It proposes that the figures of Keats, Shelley, and Coleridge, as they emerge in contemporary reminiscences, are allegorical in Walter Benjamin’s sense of the term: they speak to the survival of the poet as an attenuated figure in a modern commercial culture. Biographical fascination arises when these biographical figurations of the poet, which circulate with the poetic remains, chime with the figural strategies of the poetry itself. Often described as sentimental, biographical fascination in fact registers pathos, the emotion attendant upon the sacrifice of singular life to the regimes of the aesthetic and of the commodity.
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"William Rush Carving His Allegorical Figure of the Schuylkill River." In Thomas Eakins. Princeton University Press, 1991. http://dx.doi.org/10.2307/j.ctvcszz97.13.
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Zeeman, Nicolette. "Introduction." In The Arts of Disruption. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198860242.003.0001.
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The Introduction summarizes the book’s arguments and expands on the critical tradition of allegory theory that underpins the book. It discusses the five conflictual allegorical structures that will be the focus of the book as well as their appearance, substantially remodelled, in Piers Plowman. These are the paradiastolic ‘hypocritical figure’ (vices and virtues made to look respectively like ‘adjacent’ virtues and vices), personification debate, violent language and apophasis, narratives of bodily decline associated with age and sin, and grail romance. Through the study of these five allegorical structures, the book will pursue a larger thesis about the fundamentally disruptive nature of allegory, a form of writing that comes into being wherever two or more contrasting languages are brought into a relationship or used to comment on each other. Drawing on a number major theorists of allegory, the Introduction reaffirms that the characteristic modes of the most thoroughgoing and serious allegorical narrative in the Middle Ages are dialectical, conflictual, episodic, hypotactic, ironizing, and linguistically diverse. The Introduction further argues that such forms of strategic dissonance and the questioning of perceived continuities may be particularly common in religious allegory, with its tendency towards critique, iconoclasm and apophasis.
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Pitsou, Anastasia. "Refugees or Migrants." In Immigration and the Current Social, Political, and Economic Climate. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-6918-3.ch030.
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As refugees / immigrants are forced to cross the border, the member states of European Union are trying to manage mobile populations or the new labor force in various ways. Under the over-accumulation crisis, what kind of policies are drawn; or are denizens be punished as they question the stability of borders, state sovereign and supranational policies? When social contradictions are intense, in bourgeois democracy human rights are shrunk and the process of fascistisation is activated. Ultimately, maybe it is noticeable to understand that refugees /migrants become mutatis mutandis an allegorical figure of Muselmanner.
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"Salmacis, Hermaphrodite, and the Inversion of Gender: Allegorical Interpretations and Pictorial Representations of an Ovidian Myth, ca. 1300–1770." In The Figure of the Nymph in Early Modern Culture. BRILL, 2018. http://dx.doi.org/10.1163/9789004364356_004.
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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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Hershinow, David. "The Realist Turn: Parrhêsia, Character and the Limits of Didacticism." In Shakespeare and the Truth-Teller. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474439572.003.0003.
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Chapter 2 offers a new account of literary realism and its origins in early modern drama in order to explain why a crisis of character—both literary and ethical—begins to cohere around the figure of the Cynic truth-teller only in the sixteenth century. It argues that the proliferation of non-allegorical characters in early modern drama is the result of a new development in the protocols of literary didacticism, one in which literature can increasingly instruct audiences in the ethics of self-care by offering up to judgment the actions and outcomes of characters fashioned to be verisimilar to people. Moving into the seventeenth century and beyond, literary realism becomes fictionality’s dominant representational mode precisely because it serves as a virtual arena in which to exercise one’s practical wisdom (phronesis) about the ethical means and political ends of action.
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Osterlind, Steven J. "Coming to Everyman." In The Error of Truth. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198831600.003.0008.
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This chapter focuses on how quantification began to increase in the everyday life of ordinary people, who are represented in this chapter by the allegorical figure “Everyman” (from the fifteenth-century anonymous morality play Everyman). It discusses the invention of the chronometer and explores the effect that the increasing availability of luxury items such as sugar, as well as the quantifying ideas that were coming into use at that time, had on the general populace. The chapter then introduces Pierre-Simon Laplace, who assiduously worked to bring the newly formed probability theory to Everyman, especially through his efforts on the orthodrome problem in Traité de mécanique céleste (Celestial Mechanics), his ideas on scientific determinism (symbolized by “Laplace’s demon”), and his General Principles for the Calculus of Probabilities. The chapter also introduces Joseph-Louis Lagrange, whose work on the calculus of variations had a great influence on Laplace.
Conference papers on the topic "Allegorical figure"
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Semenov, Aleksey, and Anastasiya Dvoryanova. "TWO GLORIES." In ЯЗЫК. КУЛЬТУРА. ПЕРЕВОД = LANGUAGE. CULTURE. TRANSLATION. Science and Innovation Center Publishing House, 2019. http://dx.doi.org/10.12731/lct.2019.31.
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The article discusses one of the many examples of the interaction of a word and a visual image. Given the peculiarities of the linguistic situation of the era of Peter I, the authors argue that the potential multiplicity of the image of the character Slava is due to the semantics of the name of this allegorical figure. The paired describing of Slava is probably the result of the ongoing Western European influence, offering new examples of the embodiment of this character, as well as the consequence of the development of this figure in Russian art as a satellite character.
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Dvoryanova, A. A., and A. I. Semenov. "Lexical unit “God ” in the names of the characters of school theater plays." In XXV REGIONAL SCIENTIFIC CONFERENCE STUDENTS, APPLICANTS AND YOUNG RESEARCHERS. Знание-М, 2020. http://dx.doi.org/10.38006/907345-63-8.2020.103.110.
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The article describes the names of allegories with the component “God” in the plays of school theaters of the late XVII century — early XVIII century. The meanings of the names of these images, the features of the names of allegorical figures and their functions are considered.