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Journal articles on the topic 'Allegorical figure'
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1
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.
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King, John N. "The Godly Woman in Elizabethan Iconography." Renaissance Quarterly 38, no. 1 (1985): 41–84. http://dx.doi.org/10.2307/2861331.
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Emblematic figures of godly and faithful women proliferate throughout the literature of the English Renaissance and Reformation. Characteristically they hold books in their hands symbolic of divine revelation, or they appear in books as representations of divine inspiration. While such representation of a pious feminine ideal was traditional in Christian art, Tudor reformers attempted to appropriate the devout emotionality linked to many female saints and to the Virgin Mary, both as the mother of Christ and as an allegorical figure for Holy Church, providing instead images of Protestant women as embodiments of pious intellectuality and divine wisdom. Long before the cult of the wise royal virgin grew up in celebration of Elizabeth I, Tudor Protestants began to praise learned women for applying knowledge of the scriptures to the cause of church reform.
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La France, Robert G. "Exorcising the Borgia from Urbino: Timoteo Viti’s Arrivabene Chapel." Renaissance Quarterly 68, no. 4 (2015): 1192–226. http://dx.doi.org/10.1086/685124.
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AbstractBishop of Urbino Giovanni Pietro Arrivabene selected the foreign saints Thomas Becket and Martin of Tours as patrons for his burial chapel. Montefeltro court artist Timoteo Viti decorated the chapel with the saints’ images, including a fresco of Saint Martin exorcising a demon from a cow. This article argues that the chapel’s unusual, allegorical iconographic program condemns Cesare Borgia’s campaigns to dominate Central Italy. It also proposes that the kneeling figure in the altarpiece’s lower right register portrays the bishop’s heir. Finally, the accomplishment of the Arrivabene chapel demonstrates Timoteo Viti’s artistic independence from his famous colleague and collaborator, Raphael.
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Mkhitaryan, Irina. "Personification as Manifestation of Author’s Ironical Attitude from the Title-Text Correlation Standpoint (in the novel Animal Farm by G. Orwell)." Armenian Folia Anglistika 13, no. 1-2 (17) (2017): 29–36. http://dx.doi.org/10.46991/afa/2017.13.1-2.029.
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The paper attempts at presenting the author’s ironical attitude in the allegorical novel “Animal farm” written by G. Orwell. Here we posit the idea that the author’s ironical attitude can be embodied by personification, a figure of speech, which makes inanimate objects, animal characters or abstract ideas seem just like people by giving them human traits. The article also clarifies the role of context in defining the title-text correlation, which is best marked by the superiority of pigs ruling the farm instead of people. Hence, the former Manor Farm comes to be named Animal farm, postulating the abilities and strength of animals.
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Smout, Caroline. "Allegorische Diagrammatik und diagrammatische Allegorisierung. Erkenntnisprozesse in einem allegorischen Ikonotext der ‚Regia Carmina‘ des Convenevole da Prato." Das Mittelalter 22, no. 2 (2017): 392–405. http://dx.doi.org/10.1515/mial-2017-0023.
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AbstactSubject of this essay is the question of how the invisibility of God can be visualized. The ‘Regia Carmina’ of Convenevole da Prato (London, British Library, Royal 6 E IX) serves as an example. They are designed through allegorical iconotexts. Convenevole’s reflection consists basically of a mental image and a painted picture. This essay deals with two questions: 1) How are the mental image and the painted picture arranged to initiate a thought process regarding the relation of the painted picture to God in a diagrammatic transfer? The thought process aims to gain knowledge about the figurative representation of God. 2) Is the iconotext only modelled as a medium of insight or can it also be seen as a figure of reflection of a diagrammatic way of thinking, in which the possibilities and limits of pictorial and verbal signs are defined? In this example the fundamental and productive connection of allegorical and diagrammatic method becomes apparent. On the one hand the diagrammatic way of thinking is influenced by allegory. On the other hand the process of allegorisation that is based on a diagrammatic point of view becomes evident.
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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 important. It would be impractical to present this argument across the range of dramatic examples it deserves, particularly since substantial contextual argument will be necessary if the article’s conclusions are to have any weight. It is partly for this reason that an examination of Shakespeare’s Hamlet concludes the paper, a play needing no introduction. It will be suggested that the play’s issue of conscience was mediated in important ways by the actor’s potentially Vice-like presence, defined as such by Tudor legislation as well as by a variety of anti-theatrical religious writings.
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Frank, Martina. "Representing the Republic in Seventeenth-Century Venice." Radovi Instituta za povijest umjetnosti, no. 43 (December 31, 2019): 113–22. http://dx.doi.org/10.31664/ripu.2019.43.09.
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Allegorical representations and personifications of Venice, designed to perpetuate and update the myth of Venice, occupy a prominent place in seventeenth-century publishing. Editorial vignettes, frontispieces and engravings promote an image of the Republic anchored in the tradition and myth of the foundation of the city, but attentive to the evolution of the historical situation. As in the past, this image is polysemic and combines mainly the figures of Justice and the Virgin. A new dimension opens up in the context of the wars against the Ottoman Empire that occupy the second half of the century. A particularly significant example to document this historical evolution is the church of Santa Maria della Salute which, born as a votive Marian temple during the plague of 1630, is transformed into a monument dedicated to the war. On the lantern of the church’s dome, the figure of the Virgin takes on the appearance of a supreme commander of the navy.
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Gehrmann, Susanne. "Remembering colonial violence: Inter/textual strategies of Congolese authors." Tydskrif vir Letterkunde 46, no. 1 (2017): 11–27. http://dx.doi.org/10.17159/2309-9070/tvl.v.46i1.3461.
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This article explores the Congolese remembering of the experienced colonial violence through the medium of literature. Although criticism of colonialism is not a favourite topic of Congolese writers, there exists an important corpus of texts, especially when the literary production of Congo Kinshasa and Congo Brazzaville with their politically distinct though sometimes similar experiences is taken into account. Three main strategies of writing about the topic can be distinguished: a documentary mode, an allegorical mode and a fragmented mode, which often appear in combination. Intertextuality with the colonial archive as well as oral African narrations is a recurrent feature of these texts. The short stories of Lomami Tchibamba, of the first generation of Congolese authors writing in French, are analysed as examples for a dominantly allegorical narration. Mythical creatures taken from the context of oral literature become symbols for the process of alterity and power relations during colonialism, while the construction of a heroic figure of African resistance provides a counter-narrative to colonial texts of conquest. Thomas Mpoyi-Buatu’s novel La reproduction (1986) provides an example of fragmented writing that reflects the traumatic experience of violence in both Congolese memory of colonialism and Congolese suffering of the present violent dictatorial regime. The body of the protagonist and narrator becomes the literal site of remembering.
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Østermark-Johansen, Lene. "BETWEEN THE MEDUSAN AND THE PYGMALIAN: SWINBURNE AND SCULPTURE." Victorian Literature and Culture 38, no. 1 (2010): 21–37. http://dx.doi.org/10.1017/s1060150309990295.
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Two marble statues, each representing a reclining, sleeping nude of somewhat indeterminate sex, sit at the heart of Swinburne's early collections of poetry: the HellenisticSleeping Hermaphrodite(Figure 1) in hisPoems and Ballads(1866) and Michelangelo's allegorical figureLa Notte(Figure 2) in his “In San Lorenzo” sonnet inSongs before Sunrise(1871). Swinburne's dealings with theHermaphroditehave had a long and ever increasing bibliography; his fascination with Michelangelo's sculpture has, to my knowledge, not yet provoked much scholarly attention. This imbalance may partly be ascribed to the immediate sex appeal of theHermaphrodite– this “late Romantic freak,” as Camille Paglia appropriately called it (413) – which in the gendered critical discourse of the 1990s has given rise to a whole range of exciting explorations of Swinburne and the body, Swinburne and androgyny, Swinburne and poetic blindness. The Michelangelo statue was, however, turned into a poetic and political monument by Swinburne under far less erotically charged circumstances in the volume dedicated to Guiseppe Mazzini, and opens for different routes of inquiry.
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Brace, Patricia. "Speaking Pictures: Margaret Roper and the Representation of Lady Rhetoric." Moreana 50 (Number 193-, no. 3-4 (2013): 93–130. http://dx.doi.org/10.3366/more.2013.50.3-4.8.
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In the first quarter of the sixteenth century, a woodcut featuring a young woman at a desk, facing an audience of smaller figures, appears in five books, all printed by, or with a connection to, Wynkyn de Worde. In four of these, first printed between 1504 and 1512, the image is explicitly linked to figures associated with rhetoric and/or powerful female speech. In the fifth instance, the title page of Margaret Roper’s Erasmian translation, A Devout Treatise Upon the Pater Noster (1526?), the moment at which the associated text is produced by a woman famed for her rhetorical skill, the image appears altered, with the audience cropped from the frame. What may be argued from this change is first, that, as print historians increasingly agree, while woodcuts travel fairly freely among early printed books, they do bear some relation to either the work itself or the context in which it is produced. Second, that when faced with a non-allegorical Lady Rhetoric, tensions around female speech and agency reach a literal breaking point with a physical alteration of the woodcut that undermines both the tradition of the figure and its more recently-imagined functions.
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Abreu, Alexandre Veloso de. "Unnatural London: the Metaphor and the Marvelous in China Mieville's Perdido Street Station." Scripta 22, no. 46 (2018): 193–202. http://dx.doi.org/10.5752/p.2358-3428.2018v22n46p193-202.
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This paper explores allegorical and unnatural elements in China Miéville’s novel Perdido Street Station, starting with a parallel between the fictional city New Crobuzon and London. Fantasy literature examines human nature by means of myth and archetype and science fiction exploits the same aspects, although emphasizing technological possibilities. Horror is said to explore human nature plunging into our deepest fears. We encounter the three elements profusely in the narrative, making it a dense fictional exercise. In postclassical narratology, unnatural narratives are understood as mimetical exercises questioning verisimilitude in the level of the story and of discourse. When considered unnatural, narratives have a broader scope, sometimes even transcending this mimetical limitation. Fantastical and marvelous elements generally strike us as bizarre and question the standards that govern the real world around us. Although Fantasy worlds do also mirror the world we live in, they allow us the opportunity to confront the model when physically or logically impossible characters or scenes enhance the reader’s imagination. Elements of the fantastic and the marvelous relate to metaphor as a figure of speech and can help us explore characters’ archetypical functions, relating these allegorical symbols to the polis. In Miéville’s narrative, such characters will be paralleled to inhabitants of London in different temporal and spatial contexts, enhancing how the novel metaphorically represents the city as an elaborate narrative strategy.
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Polaski, Donald C. "What Will Ye See in the Shulammite? Women, Power and Panopticism in the Song of Songs." Biblical Interpretation 5, no. 1 (1997): 64–81. http://dx.doi.org/10.1163/156851597x00049.
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AbstractThe Song of Songs, until recently imprisoned in male-dominated allegorical interpretations, has now become an important resource for feminist readers. By and large, these critics have understood the female figure(s) in the Song as its empowered Subject-a reflection of the Song's gynocentric social context. Such readings presuppose that this female Subject is a self-constituting individual. Another approach to the question of the Subject, that of Michel Foucault, results in a different reading of the female Subject of the Song. Foucault's use of the Panopticon serves as a model for reading the Song. The Panopticon, an ideal prison, renders prisoners constantly and unavoidably available to be watched by an unseen watcher. The prisoners thus assume they are always being watched and become their own guards; they internalize the disciplinary gaze. By doing so, they are constituted as Subjects within a field of power relations. The Shulammite is, in this reading, shown to be the object of a male gaze from which she cannot escape, unlike the male figure. Thus she becomes a Subject through a regime of discipline. While the female figure is the Subject of the Song, this status does not mean that the Song must be heard as liberating for women. Indeed, just the opposite may be true.
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Kamczyk, Wojciech. "Grzeszna kobieta (Łk 7, 36-50) jako obraz Kościoła w nauczaniu św. Ambrożego." Vox Patrum 67 (December 16, 2018): 177–95. http://dx.doi.org/10.31743/vp.3396.
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St. Ambrose belongs to these Fathers of the Western Church, who in their thoughts used biblical motifs using the allegorical exegesis. It was of particular significance to him to teach about the Church. While approaching the matter of the Church he referred to an interesting image from the Gospel of St. Luke, relating to a sinful woman who washed and wiped the feet of Jesus in the house of Simon, the Pharisee. In this figure different motifs of contemporary eccesiology are combined. The Church stands as one body composed of many members following together to Jesus and bowing in front of him. He is a dispenser of grace. His primary tasks are to glorify the God, transmit the Gospel and the works of mercy.
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Shiff, Jonathan. "Titian's Helle and Ascanio de' Mori." Renaissance Quarterly 45, no. 3 (1992): 517–23. http://dx.doi.org/10.2307/2862671.
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In 1564 Titian traveled to Brescia to discuss a commission for a set of three allegorical paintings for the ceiling of the Council Hall. While there, according to a hitherto unnoticed reference in Ascanio de’ Mori's Giuoco piacevole, he presented a Brescian noblewoman, Barbara Calina, with a painting or drawing representing the mythological figure Helle.Ascanio Pipino de’ Mori da Ceno (1533—1591) is most often remembered today for his fourteen stories which are said to epitomize the adjustment of novellieri to the new moral climate of the Counter Reformation. In his own day, however, this Mantuan courtiersoldier- turned-author was perhaps best known for his Giuoco piacevole, which was popular enough to warrant three editions, in 1575, 1580, and 1590.
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Jeay, Madeleine. "De disciple à mentor : le parcours exemplaire de Christine de Pizan." Topiques, études satoriennes 4 (January 26, 2021): 1–22. http://dx.doi.org/10.7202/1074717ar.
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From disciple to mentor, this is the path followed by Christine de Pizan. She begins to stage herself under the guidance of allegorical personifications such as the Cumaean Sibyl in Chemin de long estude (The Long Road of Learning), and Reason, Rectitude and Justice in the Livre de la Cité des Dames (The Book of the City of Ladies) et le Livre des trois Vertus (The Book of the Three Virtues). Then she assumes in her own name the role of mentor. The initiatory quest she undertakes in the first of these texts, refers to the well-known topos of the trip to the Other World under the guidance of an emblematic figure, represented by two major works that inspired her, Dante’s Divine Comedy and Virgil’s Aeneid.
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Oliveira, Solange Ribeiro de. "Aspects of hybridism in Joseph Conrad's Almayer's Folly and Heart of Darkness Aspectos de hibridismo em Almayer´s Folly e Heart of Darkness de Joseph Conrad." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, no. 1 (2019): 15–28. http://dx.doi.org/10.5007/2175-8026.2019v72n1p15.
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In the light of concepts put forth by Cultural Criticism the essay discusses Joseph Conrad´s novels Almayer´s Folly and Heart of Darkness as stagings of the conflicts inherent in the syncretic nature of all culture. In the first novel, Nina, the offspring of an interracial marriage, is analyzed as a projection of the problems of hybridism. The theme recurs in Heart of Darkness, in the figure of the “harlequin”, whose mixed ancestry makes him the butt of continuous abuse. A fictional anticipation of Michel Serres´ allegorical harlequin , the half-caste proves close to three Conradian characters: Nina, in Almayer´s Folly, and, in Heart of Darkness, Kurtz and Marlow, the narrator. Conrad´s two novels thus nod to each other as mutually illuminating references, fictional premonitions of the key postcolonial category of hybridity.
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Iskin, Ruth. "Father Time, Speed, and the Temporality of Posters Around 1900." KronoScope 3, no. 1 (2003): 27–50. http://dx.doi.org/10.1163/156852403322145379.
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AbstractThe essay proposes that advertising posters around 1900 construct a popular-culture iconography of a modern temporality associated with new technologies. In addition, it proposes, posters themselves embody a new temporality as a medium. The essay analyses how posters portray time by focusing on several images, some of which depict an updated allegorical figure of Father Time in order to advertise a racing automobile or precision watch.The essay also addresses the temporality of posters as a medium by investigating their conditions of viewing and the role of their advertising function. The discussion of the media specificity of posters, their cultural context, and a detailed analysis of their imagery, concludes that posters both elicit a certain kind of temporal viewing and portray a conflictual transition between old and new temporalities.
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Hartley, Daniel. "The Jamesonian Impersonal; or, Person as Allegory." Historical Materialism 29, no. 1 (2021): 174–86. http://dx.doi.org/10.1163/1569206x-12342004.
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Abstract This article locates Fredric Jameson’s Allegory and Ideology (2019) in the context of the broader trajectory of his career-long critique of the bourgeois centred subject. It argues that, for Jameson, the project of critique requires systematic depersonalisation at the level of thought. Contrary to negative liberal humanist interpretations of depersonalisation, Jameson stresses its hidden, revolutionary potential. Where his earlier work eschewed metanarratives of modernity premised upon shifts in subjectivity, preferring conjunctural or situational analyses, his more recent work – Antinomies of Realism (2013) and Allegory and Ideology in particular – develops a materialist version of just such metanarratives. The article concludes with a detailed application of Jameson’s allegorical method to the figure of the ‘person’ under capitalism, which can be sub-divided into the four levels of: individual, citizen/juridical person, infrastructural personifications, and the realm of social reproduction.
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Breu, Christopher. "Come Fly with Me: Frank Sinatra, the Old Left, and thePax Americana." Prospects 28 (October 2004): 577–95. http://dx.doi.org/10.1017/s0361233300001617.
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Frank Sinatra has always been a contradictory figure. Biographers have often commented on the paradoxical nature of Sinatra's personality, attempting in vain to reconcile the sensitivity, subtlety, and stark emotionality demonstrated by one of the 20th century's foremost interpreters of popular song with the image of the violent, boorish, and insensitive thug that denned his offstage persona. The more politically minded of his biographers have also commented on his radical political swing from fellow traveler of the Communist Party to right-wing ideologue over the course of his 50-plus-year career (though whether one wants to count the last twenty years or so of it as a defensible “career” rather than an extended exercise in ill-advised self-indulgence is another matter). They have attributed this shift either to Sinatra's fury at being first courted and then slighted by the Kennedy administration, which after the 1960 presidential election smartly distanced itself from Sinatra's mob ties, or to his visceral hatred of rock 'n' roll and, by extension, the counterculture for which it provided the sound track and of which it was a partial expression. While these explanations are convincing on the level of psychobiography, they miss the larger cultural scope of the political contradictions that shaped Sinatra's career — contradictions that lend his career an allegorical significance in charting the expressions and transformations of political community formation in the mid-20th-century United States. That this allegorical significance extends beyond the caprice of the cultural studies analysis that follows is suggested by Sinatra's enduring popularity as a national icon.
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Hummelen, W. M. H. "Sinnekens in prenten en op schilderijen." Oud Holland - Quarterly for Dutch Art History 106, no. 3 (1992): 117–42. http://dx.doi.org/10.1163/187501792x00181.
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AbstractRemarks in various art-historical studies of recent date prompt the question of how the Vices ('sinnekens') so popular in sixteenth-century drama can be identified in the art of that period. Unlike the 'Iniquity', (the buffoon-like figure who also occurs outside drama), the Vices assume a variety of guises, judging by the texts of the plays. Their appearance can reflect their names, their function in the overall metaphor of the (allegorical!) play in which they figure or the author's satirical intentions, or they may also accentuate the demonic aspect dictated by the play's subject-matter. On the other hand the simple reference to a personage from a play as a 'Vice' is apparently sufficiently clear. Perhaps this is connected with a local tradition of dressing a 'Vice' in a particular costume owned by the dramatic company performing the piece. A Vice's only permanent attribute is a hammer (deriving from Thor's thunderbolt), but it is not sure how traditional this attribute really is. Some light can be shed on all these questions by extant depictions of Vices, three groups of which may be distinguished: (1) illustrations of plays (figs. 3-11), (2) depictions on rebus blazons alluding to the word 'sinnen' (senses) (figs. 12-16) and (3) engravings of the allegorical procession into Haarlem of companies competing in the interlocal contest (1606). Some of the companies had characters from the play to be performed at the competition (including the Vices) march in the procession (figs. 17-19). From these sources it emerges that the Vices (usually two) were either very similar in appearance or as different as chalk and cheese, except for an attribute (a stick or a hammer). Otherwise they differ from the other characters in a play in bizarre items of costume or their vivacious attitudes. With the aid of these data and the information contained in the texts of plays as to the interpretation of the Vices' roles, a number of figures in various prints and paintings can be identified as Vices (figs. 20-24, 26). As for the studies referred to at the beginning of this summary, the conclusion is that Emmens' interpretation of the kitchen-maids in various paintings by Joachim de Beuckelaer as Vices (fig. 1) must be rejected. The boys attired as Iniquity in Maarten van Hccmskerck's series of engravings The tale of Bel and the dragon (figs. 2, 27, 28) are perhaps inspired by the Vices (Gibson), but only to a certain extent. Their function in the illustrated story is not characteristic of the Vices, nor is their costume (Saunders). Apart from a direct or indirect theatrical link, it seems that the Vices do not, or rarely, occur in prints and paintings. This could however be a delusion, for the Vices have scarcely been sought outside this context.
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Paczkowski, Mieczysław Celestyn. "Metafora soli w Biblii i literaturze wczesnochrześcijańskiej." Vox Patrum 60 (December 16, 2013): 221–43. http://dx.doi.org/10.31743/vp.3989.
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The article presents the complex symbolism of salt that was strongly influenced by the rites and beliefs of the pagan and the biblical world as well as early Christian literature. The salt is an element present in every aspect of human life (food, medicine and religious cults). It played an important role in sacrifices and offerings of Old Testament. For this reason, Jesus’ use of this metaphor was extremely familiar to His followers. On the biblical bases the various allegorical motifs of salt were present in Christian authors. Metaphors associated with the salt became precise and rich. Salt was a symbolic figure of wisdom, moral cleanness and incorruptibility. God’s salt enabled one to triumph over the spiritual enemy. The Fathers taught to point others to the way of life, to show how they might be preserved from death and destruction. They pointed out how the purpose of Christian life depended on their spiritual saltiness.
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Rabinovich, Irina. "Hawthorne’s True Artist in The Marble Faun: The Jewish Miriam?" ATHENS JOURNAL OF PHILOLOGY 8, no. 4 (2021): 283–96. http://dx.doi.org/10.30958/ajp.8-4-3.
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The Marble Faun (MF), besides being a travelogue account of Rome, is a story about sin, guilt, suffering and abuse; it is also a tale about love and friendship. It is a story about the relationships between four different individuals united by their mutual love of art. The more interesting and convincing woman of the two female characters in the novel is unquestionably Miriam. Miriam is a rebel, an artist, and a compassionate and redemptive figure. Nevertheless, her art has been almost totally neglected, probably because most critics maintained that Miriam is an allegorical character lacking moral development or growth, whose function in the romance is limited to bringing about the Model’s murder and enacting the romance’s moral drama. The aim of this paper is to rectify a long and undeserved history of neglect and award Miriam her due status of Hawthorne's sole genuine artist. Keywords: art, Hawthorne’s female artists, The Marble Faun
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Aguirre, Manuel. "The Sovereignty of Wisdom: Boethius’ Consolation in the Light of Folklore." Mnemosyne 65, no. 4-5 (2012): 674–94. http://dx.doi.org/10.1163/156852512x585188.
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Abstract This article argues that Boethius’ Consolation can be read in a folklore key as an allegorical version of the Adventure of the Hero. The text has been the object of analysis often enough, but never, to the author’s knowledge, from the perspective proposed here. The article begins by discussing the shortcomings of certain critical positions regarding the identity of Philosophy. It then applies to the Consolation tools taken from the field of folklore studies—the narrative model proposed in Propp’s Morphology of the Folktale, and the thematic pattern of Sovereignty. Analysis in this light provides evidence that Philosophy is an embodiment of Sovereignty herself, a symbolic figure usually studied by Celtic and Scandinavian scholars, but one which demonstrably plays a key role in Classical literatures as well. This approach is shown to clarify several major aspects of Boethius’ text: the peculiar interplay of its metaphors, the role of Philosophy, the narrative structure within which she exists, and the significance of the various motifs and voice associated with her.
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Ullman, Annika. "Rektor C.J.L. Almqvist och personlighetsprincipen." Nordic Journal of Educational History 1, no. 2 (2014): 43–61. http://dx.doi.org/10.36368/njedh.v1i2.38.
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Principal C.J.L. Almqvist and the principle of personalityThe Swedish author and visionary Carl Jonas Love Almqvist (1793–1866) was the principal for twelve years (1829–1841) of the government-initiated pilot school ”Nya Elementarskolan” (New Elementary School) in Stockholm. In this position, he argued that both the school and the state should be built on the same basic idea: the right of individual freedom. This argument is often referred to as ”personlighetsprincipen” (the principle of personality), a concept launched by another prominent figure of the liberal culture of the time, Erik Gustaf Geijer (1783–1847). This article explores how the principle of personality is expressed in the texts of Almqvist and is mainly built upon the concept’s allegorical resources. It examines the thesis that Almqvist’s use of the term is best understood if one distinguishes between the political, pedagogical, and existential dimension of the concept. The article ends with some thoughts about the context of the concept and a discussion on whether Almqvist had a greater interest in personalities than in principles.
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Klepper, Deeana. "Historicizing Allegory: The Jew as Hagar in Medieval Christian Text and Image." Church History 84, no. 2 (2015): 308–44. http://dx.doi.org/10.1017/s0009640715000086.
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Over the course of the thirteenth and fourteenth centuries, Christian thinkers turned rhetorically to the biblical servant Hagar (Genesis 16 and 21) to establish, or at least support, specific policies restricting Jewish interaction with Christians. Referencing St. Paul's allegorical interpretation of Abraham, Sarah, and her servant Hagar in his Epistle to the Galatians, they transformed a longstanding association of Hagar with the old law, synagogue, or a vague Jewish “other” into a figure representative of Jews living in their midst. The centrality of St. Paul's allegory in western Christian liturgical and exegetical traditions made it a useful framework for thinking about contemporary Christian-Jewish relations. This article is a consideration of the intertwining of biblical typology and history; an examination of the way one particularly rich typological reading came to give meaning to relationships between real Christians and Jews in medieval Europe. A proliferation of Hagar imagery in word and image offered a structure for thinking about Jewish policies in a way that moved beyond Augustine's insistence on toleration. The association of living Jews with the haughty, disrespectful, ungrateful servant sent away by Abraham provided an effective support for increasingly harsh treatment of Jews in Christian society.
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Zgraja, Brunon. "Arka Noego obrazem Kościoła w "Enarrationes in psalmos" św. Augustyna." Vox Patrum 65 (July 15, 2016): 761–81. http://dx.doi.org/10.31743/vp.3533.
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St. Augustine is regarded as master of the an allegorical interpretation of the Holy Scriptures. It consists in drawing out from the biblical text the deepest meaning. Using such kind of interpretation, he tried in one of his greatest exegetical works – Enarrationes in Psalmos, to explain for his faithful the mystery of the Church by means of a number of motives from the parables, biblical topographic and cosmic subjects, as well as from many biblical events and personages, interpreted in an allegorical spirit. So, in this article an effort has been made to show only some ideas of Augustine’s ecclesiological reflections that look as fruit of his allegorical interpretation of Noah’s Arc and the happenings related to it. The carried out analyses show that the figure of Noah’s Arc and the happenings related to it, served the bishop of Hippona to present the Church as a community composed of all nations of the world which are being incorporated in its organism after a previous conversion and receiving baptism as a result of proclamation the Gospel which should perform a priority role in the saving service of the Church. In Augustine’s opinion, the Church should be the place of proclamation the Truth, the teaching of which in the Church should be characterized by absolute fidelity to the Christian doctrine. What’s more, the Church is a community of saint and sinful people. It unceasingly undertakes strenuous efforts of moral cleaning, striving thereby for a growing moral perfection. That community is also characterized by awareness of a shared responsibility for the salvation of others, as well as by a conviction of the value of testifying to the holiness of life and the need of proclaiming the Word of God. These constitute an essential factor which mobilizes to a growing fidelity in fulfilling the will of God expressed in the commandments, and to undertaking a strenuous effort to proclaim the Gospel. The carried out analyses also allow to ascertain that the moral renewal undertaken by the members of the Church, should take place in accordance with the recommendations of Christ, and their progress in acquiring moral perfection does not remain without influence on perceiving the institution of the Church. Also obdurate sinners are members of the Church, those who, in spite of the words of encouragement addressed to them that they might start a way of fidelity to God, they put off the final decision of conversion, resigning in this way from the possibility of salvation, offered to them by God. The Church shown by means of an arc, is a Church unceasingly persecuted because it does not give consent to moral violations by the sinners, having a tolerating attitude toward them, in hope of their conversion. To Augustine’s vision of the Church belongs also his faithful safeguard of the Christian morality, as well as his fidelity in the service of proclaiming the Gospel. Both flow from the conviction of impossibility of one’s salvation outside the Church.
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Fisher, Tony. "Theatre at the Impasse: Political Theology and Blitz Theatre Group's Late Night." Performance Philosophy 4, no. 1 (2018): 139–56. http://dx.doi.org/10.21476/pp.2018.41205.
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This essay describes a performance by the Greek theatre collective, Blitz Theatre – Late Night – as constituting a theatrical response to current political crises in Europe. What I call a ‘theatre of the impasse’ seeks to bear witness to the experience of impasse, where impasse and crisis must be fundamentally distinguished. Impasse is revealed where crisis admits of no decision adequate to the situation; and, correspondingly, where theatre loses faith in the power of decision to resolve its conflicts. I situate these claims with reference to Carl Schmitt’s and Walter Benjamin’s dispute over political theology, arguing that a theatre of the impasse might be thought as an ‘allegorical’ theatre in Benjamin’s terms. Blitz Theatre’s Late Night reveals, thereby, the concealed truth of the impasse: a founding human sociality experienced as world immanence. In doing so doing, I argue, this theatre frustrates every hope for the kind of political theology of the stage envisaged by Schmitt. I read the performance, instead, as an elegy to Nancy’s inoperative community, at the centre of which are the figure of lovers, bound to, yet unable to take possession of, one another. Staging impasse, Late Night allegorises the fragile human community, exposed in its fundamental precarity.
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Ótott, Noemi. "Siete voi qui, ser Brunetto?». I volti di Brunetto Latini: rappresentazione e autorappresentazione." Italianistica Debreceniensis 23 (December 1, 2017): 96–107. http://dx.doi.org/10.34102/italdeb/2017/4642.
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As in portrait (attributed to Giotto) of Brunetto Latini and Dante Alighieri, history has tended to pair the two poets, who were both exiled from their native Florence. The role played by Brunetto Latini in Florence’s history paralleled that of the orator Cicero in Republican Rome and Dante, his student, was Florence’s Virgil. The famous “Brunetto’s Song” (Canto XV of Inferno) has generated many controversies, determined and justified by an uninterrupted and secular reflection. The encounter between the protagonist-traveler and his master has great importance also from the point of view of the creation of The Divine Comedy. But the old florentine intellectual does not only appear in this canto: in fact, he is the author and, at the same time, the protagonist of the famous opera Il Tesoretto, a didactic-allegorical poem written in volgare. In my study I focus on the figure of Brunetto Latini and on his representation by Dante. At first I examine the protagonist Latini: how he appears in the canto and what his part is in The Divine Comedy. Then I concentrate on the author Latini and I try to identify the poet’s voices in the texts and descriptions according to the context.
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McGuire, Charles Edward. "John Bull, Angelica Catalani and Middle-Class Taste at the 1820s British Musical Festival." Nineteenth-Century Music Review 11, no. 1 (2014): 3–31. http://dx.doi.org/10.1017/s1479409814000135.
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This article examines the contentious relationship between the prima donna Angelica Catalani and the British musical festival in the 1820s. The inclusion of Catalani, the most famous soprano of her generation, at the great musical festivals in this decade, such as those of Birmingham, York, Derby and Manchester, among other places, was a sign of the aspects of spectacle festival producers thought necessary to capture the middle-class audience. At the time, contemporaries assumed this audience was increasing in number and importance. Catalani attempted to use her fame to dictate musical and aesthetic terms to festival committees, particularly by transposing arias within performances of Handel'sMessiah, and interpolating Italian sacred music by Pietro Carlo Guglielmi and Pio Cianchettini into the same. The British musical press responded by invoking the figure John Bull to roundly condemn Catalani: the allegorical everyman, crying ‘cant’ and ‘humbug’ was used to portray the singer as a tasteless and ‘foreign’ other while at the same time forwarding the education of the middle-class audience into aspects of the nascent concept of ‘the composer's intentions’. The condemnation of Catalani was also an attempt to integrate the middle classes into the cultural life of Britain, while denigrating the purported taste of the British aristocracy, which made star turns such as Catalani's possible.
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Tsui, Brian. "Reforming Bodies and Minds." positions: asia critique 28, no. 4 (2020): 789–814. http://dx.doi.org/10.1215/10679847-8606497.
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This article revisits reformatories set up under Nationalist China from 1928–37 to transform former Communists into loyal nationalist subjects. By examining confessions attributed to inmates and scandalous tales of Communists published by reformatories, it argues that these institutions were more than devices to suppress political dissent. Instead, reformatories played productive functions for the Guomindang state. First, reformatories’ in-house magazines conjured up an anticommunist figure of the Communist that combined the excesses of urban capitalism and the residues of China’s “superstitious” sect. Communist cadres, articles written by political converts suggested, were puerile, capricious, and alienated from traditional moral norms. At the same time, the Communist movement was attributed qualities of an evil cult preying on the ignorant and the irrational. Second, by publicizing the overcoming of the sins attributed to Communists, the reformatories created, with contributions by former Communists, a textual economy in which the Chinese populace as a whole turned away from left-wing politics and acquired a new subject position. More than converting individual Communists into “proper” nationalists, reformatories were supposed to bring about, if only in allegorical terms, mass conversion to the sobriety, obedience, hierarchical order, and organic unity that the nation was supposed to entail.
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Kłys, Tomasz. "Fiancées and widows: women’s encounters with death in the silent films of Fritz Lang." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 25, no. 34 (2019): 155–62. http://dx.doi.org/10.14746/i.2019.34.10.
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Kłys Tomasz, Fiancées and widows: women’s encounters with death in the silent films of Fritz Lang. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 155–162. ISSN 1731-450X. DOI 10.14746/i.2019.34.10.
 In the silent Weimar films of Fritz Lang, the heroines have sudden encounters with Death, conceived both as an allegorical figure and as an unexpected violent end of the life of their fiancé, husband or loved one. The nameless Maiden, the main heroine of Der müde Tod (The Weary Death, known in English-language countries as Destiny, 1921), while looking for her fiancé, who was kidnapped by Death, tries three times to regain his life and finally, overcome by Death, commits suicide. Two queens of Burgundy in Die Nibelungen (The Nibelungs, 1924), Kriemhild and Brunhild, motivated by resentment and vengeance, as well as by unfulfilled love, finally appear to be zombie-like self-destructive monsters, destroying the social and political order, and the lives of many human beings. The paper, with the use of the psychoanalytic concepts of melancholy and the mourning “not-worked-out” by the persons who have lost their loved ones, analyses the ambiguous attitudes and self-destructive acts of these “women in black”..
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Lesjak, Carolyn. "All or Nothing: Reading Franco Moretti Reading." Historical Materialism 24, no. 3 (2016): 185–205. http://dx.doi.org/10.1163/1569206x-12341479.
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Published in tandem in 2013, Franco Moretti’s two most recent books continue his on-going project to develop radical new methods of literary history and to propose new formulations and frameworks for understanding the relationship between form and history and form and ideology. Bringing together the series of essays through which he developed his concept of distant reading, his collection of the same name argues for a ‘falsifiable criticism’ grounded in the data now available through digital technologies and for the concept of a ‘world literature’ that it is the task of comparatists to theorise. His book on the bourgeois – characterised by Moretti as a project of an entirely different nature – finds in the minutiae of language the construction of a bourgeois culture in which the figure of the bourgeois himself ultimately disappears. Contra Moretti, the review contends that these books are deeply interrelated and that the limits of Moretti’s method are to be found specifically in the issues of scale raised by reading these two works in dialectical relationship to each other. In particular, while Moretti importantly forces us to confront in world literature what Fredric Jameson refers to as the ‘scandal of multiplicity’, his method is unable, in the end, to account for a reading of the world in literature in which both the empirical fact of a dead history and the allegorical possibility of another history already in the making can be found.
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Leith, James A. "The French Revolution: The Origins of a Modern Liberal Political Culture?" Journal of the Canadian Historical Association 2, no. 1 (2006): 177–93. http://dx.doi.org/10.7202/031033ar.
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Abstract Recently it has been argued that the chief legacy of the French Revolution was that it provided a prototype of a modern liberal political culture. This paper argues that, while some of the features of such a political culture did appear during the revolutionary decade, the revolutionaries never discarded an ancient conception of sovereignty which insisted that political will had to be unitary and indivisible. This led to rejection of political parties, legitimate opposition, and pluralism. The debates in the Constituent Assembly already reveal these illiberal tendencies. The Declaration of the Rights of Man, with its apparent emphasis on individual rights, might seem to have counterbalanced these tendencies, but two clauses inserted at the insistence of Abbé Sieyès vested sovereignty in the nation and asserted that law must be the expression of the general will. These clauses transformed the rights of the individual into the rights of the Leviathan. The insistence on a unified will was revealed in the allegorical figures, symbols, and architectural projects of the period. The figure of the demigod Hercules, which came to represent the People, conveyed a monolithic conception of the citizenry in complete contradiction to the conception of them in a pluralistic liberal democracy. Also the fasces, the tightly bound bundle of rods with no power to move independently, suggested a conception of the body politic at odds with that of a variegated liberal society. If such unity did not exist, it was to be created by the rituals performed in Temples décadaires every tenth day, the republican Sunday. Those who would not join this vast congregation would be excised or coerced. Moreover, throughout the decade there were various theories of revolutionary government at odds with liberal ideals: the unlimited power of a constituent body, the concentration of power in a tribune or dictator, or the dictatorship of a committee. Such notions, too, were important for the future.
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Witalisz, Władysław. "“I cluppe and I cusse as I wood wore”: Erotic Imagery in Middle English Mystical Writings." Text Matters, no. 3 (November 1, 2013): 58–70. http://dx.doi.org/10.2478/texmat-2013-0026.
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The mutual influences of the medieval discourse of courtly love and the literary visions of divine love have long been recognized by readers of medieval lyrical poetry and devotional writings. They are especially visible in the affinities between the language used to construct the picture of the ideal courtly lady and the images of the Virgin Mary. Praises of Mary’s physical beauty, strewn with erotic implications, are an example of a strictly male eroticization of the medieval Marian discourse, rooted in Bernard of Clairvaux’s allegorical reading of the Song of Songs, where Mary is imagined as the Bride of the poem, whose “breasts are like two young roes that are twins” (Cant. of Cant. 4:5). Glimpses of medieval female erotic imagination, also employed to express religious meanings, can be found in the writings of the mystical tradition: in England in the books of visions of Margery Kempe, in the anonymous seers of the fourteenth century, and, to some extent, in Julian of Norwich. Though subdued by patriarchal politics and edited by male amanuenses, the female voice can still be heard in the extant texts as it speaks of mystical experience by reference to bodily, somatic and, sometimes, erotic sensations in a manner different from the sensual implications found in the poetry of Marian adoration. The bliss of mystic elation, the ultimate union with God, is, in at least one mystical text, confidently metaphorized as an ecstatic, physical union with the human figure of Christ hanging on the cross.
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Bøggild, Jacob, and Jens Henrik Holm. "The Constant Gardener." K&K - Kultur og Klasse 34, no. 102 (2006): 56–73. http://dx.doi.org/10.7146/kok.v34i102.22316.
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Om kampen om anerkendelse og den artige revolution i H. C. Andersens »Gartneren og Herskabet« The Constant GardenerH. C. Andersen’s tale »The Gardener and the Royal Family« appears to be one of his very straightforward ones, the irony in it of a satirical and therefore stable kind. Moreover, it seems obvious that the tale is an allegory about the miscredited artist, one such as Andersen conceived himself to be, as well as about the political changes in Denmark in the latter part of the 19th century. Still, it has engendered conflicting views amongst its critics. This fact has prompted Ib Johansen to hail it as a »strong« text in the sense of Harold Bloom. This article expands on Johansen’s view in seeking to tease out in what aspects of the text this strength might be grounded. The answer we offer is that it is grounded in the figure of the gardener, who reamains a blank surface, so to speak, and subsequently represents a radical openness to interpretation. This, we further argue, brackets the aforementioned possibilities for an allegorical reading of one or the other kind. Previous readings by Peer E. Sørensen, Johan de Mylius and Ib Johansen are discussed in the process. Furthermore, we discover the Hegelian dialectic between the master and the slave to be an operative force in the text. What comes forth, we believe, is an added awareness of the specific nature of the revolutionary force of Andersen’s irony, measured also in contrast to the irony of another tale of his, »The Storm Shifts the Sideboards«, even in a case where it, at a first glance, appears to be of a facile and easily decipherable kind.
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Selby, Martha Ann. "The Ecology of Friendship: Early Tamil Landscapes of Irony and Voice." Studies in History 33, no. 1 (2017): 26–35. http://dx.doi.org/10.1177/0257643016677444.
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This article is a brief study of four female characters—a pair of daughters and a pair of mothers—who give voice to the majority of the poems in the Aiṅkuṟunūṟu, an Old Tamil anthology of love poetry from the early decades of the third century CE. Taking cues from recent ethnographies on friendship in South Asia and from Alan Bray’s compelling study of friendship in modern Britain, I will examine the ways in which bonds between female friends are expressed in the dense natural imagery so characteristic of Old Tamil convention, most often found within the poems in double entendre and in brief, almost allegorical statements. I focus primarily on the figure of the tōḻi, the ‘girlfriend’, who speaks with greatest frequency in these poems as she acts as the mediator between the talaivi (the ‘heroine’) and the talaivaṉ (the ‘hero’) through every stage of their romantic relationship, and also between the talaivi and her mothers—the cevili-t-ta −y or ‘foster mother’ and the naṟṟa −y, the ‘biological mother’ of the talaivi. In passing, I will briefly contrast this quartet with the voices of their corresponding male characters, which we hear especially within the context of the pa −caṟai, the ‘war camp’. I will analyze how the voices of the characters change—both in content and in register—according to shifts in poetic settings, and will discuss what these shifts can tell us about aesthetic representations of female friendship in early South India. Through a study of the conversational settings among these characters, I will illustrate how friendship, intimacy and love are conveyed in language and rhetorical gesture.
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Bychkov, V. V. "The Symbolic Essence of Art in Friedrich Schlegel’s Romantic Aesthetics." Art & Culture Studies, no. 1 (2021): 266–87. http://dx.doi.org/10.51678/2226-0072-2021-1-266-287.
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According to Friedrich Schlegel, one of the leading theorists of German Romanticism, the “highest” art is always symbolic, and it would be more precise to name the discipline that deals with it “symbolics”, rather than “aesthetics”. According to Schlegel, the highest arts comprise painting, sculpture, music, and poetry as the “arts of the beautiful and the ideally significant”. Using the examples of painting and literary arts, he demonstrates the symbolic character of art in general. Schlegel thinks that masterpieces of old Italian and German painters exemplify symbolic art. Schlegel is against separating painting into genres. He thinks that portrait, landscape, or still nature are merely sketches in preparation for a large, multi-figure, historical painting — as a rule, with Christian content — which leads the spectator to divine spheres. At the same time, painting must perform its symbolic function by means purely pictorial. The best examples of poetry (this is how Schlegel styles all belles lettres) also have been symbolic, especially during its “Romantic period”, from the Middle Ages and up to the 1600s. Schlegel refers to its symbolic meaning by the term “allegory”. The Bible — as an artistic, symbolic book — became the foundation of the “Romantic” literature of the Middle Ages, which took two routes: “Christian-allegorical”, which transfers Christian symbolism on to the entire world and life, and properly speaking Romantic, which presents every phenomenon of life as leading up to symbolic beauty. Using the example of drama, Schlegel divides works of art into three categories: superficial, spiritual-profound, and eschatological. According to the German philosopher, contemporary art has lost its symbolic content and mostly remains at the superficial level.
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Pankina, Elena V. "The Musical Iconography of the Private Chambers of Studiolo and Grotta of Isabella d’Este." Observatory of Culture 15, no. 4 (2018): 468–78. http://dx.doi.org/10.25281/2072-3156-2018-15-4-468-478.
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The article is dedicated to the analysis of certain components of the historical interior of the studiolo and grotta of Isabella d’Este, Marquise of Mantua (1474—1539). The article considers, in the imagological aspect, the decorative elements of her private chambers in the “Palazzo Ducale” as a form of personal and, at the same time, status representation of the wife of the ruler of the state and as a reflection of some aspects of the behavioral standard of the Renaissance noble lady. For the first time, the artistic design of the Mantuan studiolo (private studio)and grotta (adjoining storage room for art and rarities) is examined through extraction of musical imagery and musical symbolism, which had a special importance in authomythologization of Isabella d’Este and reflected her deep personal passion for music.Analyzing the contextual part of the allegorical painting by Lorenzo Costa the Elder (1504—1506) “Allegory of the Court of Isabella d’Este”, the article focuses on the proximity of the characters playing the “heavenly” lute and zither to the figure of Isabella d’Este. And the attainment of eternal life by Isabella, as the center of the harmonious world of wisdom and art, is considered to be the main conceptual message. The depictions of the musical instruments on the wooden intarsia are regarded in connection with the music practice of the Marquise and people around her, which is evidenced by numerous documents of the Mantuan Archive of Gonzaga. The incipit of the chanson by Ockeghem “Prenez sur moi votre exemple amoreux”, included in the decor, for the first time receives an extended interpretation as an indirect semantic message. The figures of Euterpe and Erato, with their usual flute and lyre, are, on the contrary, quite traditional and expected in this context on the doorway marble medallions. The ceiling impreses, with the enigmatic image of musical signs (viola key, metric designations and pauses), have a symbolic meaning. The article concludes that the purpose of inclusion of the musical decor in the design of studiolo and grotta is to indicate the status of Isabella d’Este as a ruler of the artistic world where music takes the main part.
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Van Bockhaven, Vicky. "Decolonising the Royal Museum for Central Africa in Belgium's Second Museum Age." Antiquity 93, no. 370 (2019): 1082–87. http://dx.doi.org/10.15184/aqy.2019.83.
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In December 2018, the Royal Museum for Central Africa (RMCA) in Tervuren, Belgium, reopened its doors after a renovation project that started nearly 20 years ago. Founded by the infamous King Leopold II, the RMCA contains cultural and natural history collections from Belgium's former colonies of Congo, Rwanda and Burundi, as well as other parts of Africa and beyond. Today, a new ‘Welcome pavilion’ leads the visitor through a monumental subterranean corridor to the historic building's basement and to an introduction to the history of the collections. The exhibition halls on the ground level have been refurbished, including the old colonial maps painted on the walls, while in the Crocodile Room, the original display has been retained as a reminder of the museum's own history. The largest halls now present displays linked to the scientific disciplines and themes within the museum's research remit (Figure 1): ‘Rituals and Ceremonies’ (anthropology), ‘Languages and Music’ (linguistics and ethnomusicology), ‘Unrivalled art’, ‘Natural History’ (biology), ‘Natural resources’ (biology, geology) and ‘Colonial History and Independence’ (history, political science). Eye-catching developments include: a room featuring some of the statues of a racist style and subject matter, which were formerly exhibited throughout the museum, and are now collected together in a kind of ‘graveyard’ (although this symbolic rejection is not properly explained); a new Afropea room focusing on diaspora history; a section on ‘Propaganda and representation’ (Imagery), a Rumba studio and a Taxolab. In place of racist statues, and occupying a central position in the Rotunda, is a new sculpture by Aimé Mpane named ‘New breath, or burgeoning Congo’. The accompanying label states that this piece “provides a firm answer” to the remaining allegorical colonial sculptures in the Rotunda by “looking at a prosperous future”. Alas, this answer is not as clear as is claimed and its message may be lost on many visitors.
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Acri, Andrea. "On birds, ascetics, and kings in Central Java Rāmāyana Kakawin, 24.95–126 and 25." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 166, no. 4 (2010): 475–506. http://dx.doi.org/10.1163/22134379-90003611.
Full textAbstract:
In the first part of the paper I introduce stanzas 95-126 of Sarga 24 and the whole of Sarga 25 of the Old Javanese Rāmāyaṇa, which present the most difficult and least understood pieces of poetry in the whole of Old Javanese literature. The two sections, displaying a close relationship between each other on account of several shared lexical items and corresponding motifs, describe in allegorical terms animals, birds and plants in order to satirically represent ascetic and political characters of mid-9th century Central Java. Because of their idiosyncratic language and style, and because of their allegorical content which find no correspondences in the Bhaṭṭikāvya or other Sanskrit versions of the Rāmāyaṇa, they have been for long regarded as a ‘corpus alienum’ in the poem. The thesis of interpolation was criticized by Hooykaas (1958a/b/c), who, however, did not rule out the possibility of their having been composed by a ‘second hand’. Having tried to distinguish the various textual layers that characterize those sections, I turn to analyse their contents along the lines set out in the masterful article by Aichele (1969) ‘Vergessene Metaphern als Kriterien der Datierung des altjavanischen Rāmāyaṇa’, discussing the allegories depicted there in comparison with the contemporary Śiwagṛha metrical inscription. By taking into account additional Old Javanese textual and visual documents, I suggest a fine-tuning for some of the identifications advanced by the German scholar. In particular, I argue that the character of Wibhīṣaṇa (instead of Lakṣmaṇa, as argued by Aichele) in the poem could allegorically represent King Rakai Kayuwaṅi, and that the satirical descriptions of various kinds of water-birds of the heron family deceiving the freshwater fishes are to be taken as a critique directed to historical figures representing covert agents of the Śailendra prince Bālaputra disguised as Śaiva (and not Buddhist) ascetics. My conclusion is that the satirical themes displayed in the stanzas represent a case of ‘localization’ of materials widespread in Sanskrit literature, which should be taken into due consideration in order to understand the identity and religious affiliation of the ascetic figures allegorically represented in Sargas 24 and 25.
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Abugideiri, Hibba. "Editorial." American Journal of Islam and Society 13, no. 4 (1996): v—vi. http://dx.doi.org/10.35632/ajis.v13i4.2284.
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With this issue of AJISS, we bring this volume to a close. This year hasbrought many changes to AJISS, not only in the scope of Islamic issueshighlighted within the articles, but also in the range of opinions articulatedby their authors. As a fourm for intellectual debates on issues relating toIslam, MISS strives to “push the intellectual envelope” of Islamic thought.No subject matter better reflects this attempt than the issue of women,which many articles in this issue analyze.In her article “Oikos/polis Conflict: Perspectives of Gender Feministsand Islamic Revivalists,” Zeenath Kausar examines the continuing debateon women’s political participation in order to demonstrate “how genderfeminists prefer women’s political participation at the cost of deconstructinggender and family, whereas contemporary Islamic revivalists “supportand encourage women’s political participation-but not at the expense offamily and the distinct identity of women.” After a brief survey of feministphilosophy and Muslim revivalist discourse, Kausar concludes that genderfeminists create an atmosphere of conflict between men and women, whileMuslim revivalists look at men and women as copartners in constructingcivilization.In questioning exactly this notion of copartnership between men andwomen, Hibba Abugideiri undertakes, in her “Allegorical Gender: TheFigure of Eve Revisited,” a discourse analysis of classical Islamic texts inorder to uncover how gender categories were constructed by classicalexegetes. By focusing on the figure of Eve, which “has not only definedthe identity of Muslim woman: it has also set the parameters for how thatidentity has been forged,” she questions the authoritative value and relevanceof the classical view of Eve for contemporary social demands.Underlying her Qur’anic rereading of Eve’s role in the parable of creationlies the goal of forging a new methodological approach to Islamic issuesthat need to be redressed, particularly in light of the current wave ofIslamic revivalism.Finally, in her review essay “Muslim Women’s Studies: Two Contributions,”Mohja Kahf engages in a critical analysis of two gender historiesthat interface nicely with Abugideiri’s study. Here, Kahf reviews two foraysinto the field of Muslim women’s studies that uncover the place of ...