Academic literature on the topic 'Allegorical figures'
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Journal articles on the topic "Allegorical figures"
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Gligorijevic-Maksimovic, Mirjana. "Classical elements in the Serbian painting of the fourteenth century." Zbornik radova Vizantoloskog instituta, no. 44 (2007): 363–70. http://dx.doi.org/10.2298/zrvi0744363g.
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In the early 14th century influences of a new style emanating from Constantinople contained reminiscences of classical ideas and forms (contents of compositions, the painted landscape, the human figures, genre scenes based on everyday life, classical figures, personifications and allegorical figures). Towards the end of the century classical influences in painting began to wane.
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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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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.
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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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Alex Zukas. "Class, Imperial Space, and Allegorical Figures of the Continents on Early-Modern World Maps." Environment, Space, Place 10, no. 2 (2018): 29. http://dx.doi.org/10.5749/envispacplac.10.2.0029.
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Sellew, Philip. "Achilles or Christ? Porphyry and Didymus in Debate over Allegorical Interpretation." Harvard Theological Review 82, no. 1 (1989): 79–100. http://dx.doi.org/10.1017/s0017816000016035.
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Porphyry of Tyre, the disciple of Plotinus who composed his massive workAgainst the Christiansunder Diocletian, has attracted much attention in recent years as perhaps the most formidable intellectual opponent of the early church. Modern scholars continue to be impressed by Porphyry's knowledge, resourcefulness, and the evident respect shown him by such figures as Jerome and Augustine. Because his literary remains are both fragmentary and disputed, moreover, any new information about Porphyry's views is of considerable importance. Just such a discovery provides the occasion for this essay. Among the papyrus codices found in an ammunition dump near Toura, Egypt, during World War II, were several previously unknown works of Origen and Didymus the Blind.
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Meg Twycross. "The Widow and Nemesis: Costuming Two Allegorical Figures in a Play for Queen Mary Tudor." Yearbook of English Studies 43 (2013): 262. http://dx.doi.org/10.5699/yearenglstud.43.2013.0262.
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Lee, Hye-won. "On a way of depicting allegorical figures in “The Windows” and “The Widows” of Baudelaire." Comparative Literature 72, no. 1 (2017): 219–54. http://dx.doi.org/10.21720/complit72.08.
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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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Markowski, Marcin. "Postacie alegoryczne umieszczone w szacie graficznej banknotów stumarkowych emitowanych przez banki Badenii, Bawarii, Saksonii i Wirtembergii przed I wojną światową." Rocznik Polsko-Niemiecki, no. 25/2 (April 28, 2017): 87–105. http://dx.doi.org/10.35757/rpn.2017.25.19.
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After the unification of Germany in 1871, one of the unifying factors was the introduction of the single currency. The issuing bank was Reichsbank, which was based on a Prussian bank. From 1875, it issued coins and banknotes. Except for the central bank, however, the limited right to issue their own money was left to several provincial banks whose numbers were constantly decreasing. In the early twentieth century there were only four central banks of federal states. The banks of Baden, Bavaria, Saxony and Württemberg issued their own paper money until 1935 when they were deprived of their right to do so. Each of these institutions issued 100 Deutsche Mark banknotes whose graphic design differed from the appearance of Reichsbank’s paper money. Banknotes printed for these banks had a rich graphic design. It was not limited to simple ornamentation and symbols, but contained rich decoration in the form of allegorical figures ‘armed’ with the symbols of trade, crafts, agriculture and industry. Some of these characters and their attributes can be identified with specific Greek and Roman gods such as Hermes or Tyche. Among the figures appearing in the graphic design of the banknotes were women with wreaths of oak leaves on their heads, which may be interpreted as personifications of the states. Two busts have been identified as the symbolic rivers of Rhine and Neckar. The presence of allegorical characters is part of the global tendency during the nineteenth and twentieth centuries. At that time, images of deities and symbolic figures referring to the economy were commonly placed on banknotes in European countries and their overseas colonies.
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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.
Dissertations / Theses on the topic "Allegorical figures"
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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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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
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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."
Books on the topic "Allegorical figures"
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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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M, Wright William. Rhetoric and theology: Figural reading of John 9. Walter de Gruyter, 2009.
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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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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.
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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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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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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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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.
Book chapters on the topic "Allegorical figures"
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Niehoff, Maren R. "A Platonic Self." In Philo of Alexandria. Yale University Press, 2018. http://dx.doi.org/10.12987/yale/9780300175233.003.0010.
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This chapter examines the contours of the self in Philo's Allegorical Commentary. Throughout the Allegorical Commentary, Philo is concerned with the human self, introducing to Judaism a new language of introspection and spirituality. Interpreting the book of Genesis allegorically, he leads the reader from the concrete figures of the Bible to the intricacies of the human soul. The aim is to know oneself and the ethereal realities that cannot be grasped by the senses. Philo himself is turned inward, observing the struggle of his soul between material and rational elements. He neither reflects yet upon himself as an author in the text nor shares experiences from life in the world. The center of his ethics is God, whom humanity is called to imitate. This upward view to real values transcends the world and disconnects the individual from society.
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Christian, Margaret. "Allegorical reading in occasional Elizabethan liturgies." In Spenserian Allegory and Elizabethan Biblical Exegesis. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9780719083846.003.0003.
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Occasional liturgies are scripts for religious services which respond to specific occasions: emergencies like plague (in 1563), Muslim invasions in Europe (in 1565 and 1566), bad weather (in 1571), the St. Bartholomew’s Day Massacre, the London earthquake of 1580, the Spanish invasion (expected from 1586 through 1588), or plots against the queen like Dr. Parry’s in 1585 and Babington’s in 1586. Two occasional liturgies from 1576 and 1585 offer readings and prayers for November 17, signalling that, like Pentecost and Christmas, Accession Day was part of the church year. Identifying England with Israel, liturgists treated Elizabethan current events and public figures as interchangeable with events and characters described in the Bible. Elizabethan churchgoers thus had abundant training in decoding allegorical narratives—a facility they could bring to a reading of The Faerie Queene.
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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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Strouse, A. W. "Coda." In Form and Foreskin. Fordham University Press, 2021. http://dx.doi.org/10.5422/fordham/9780823294749.003.0006.
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A concluding discourse on the survival of Pauline allegorical circumcision into modernity. Figures and circumstances discussed include William Carlos Williams, Ernest Hemingway, Daniel Defoe, George Washington (and his cherry tree), the English Civil War, and contemporary political questions (particularly in the United States) around circumcision, antisemitism, and the lingering effects of the intellectual frameworks with which the book opened.
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Kendrick, Robert L. "Devotional Strategies." In Fruits of the Cross. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520297579.003.0005.
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The pieces had the task of projecting both Passion commemoration and personal penance, in line with the dynasty’s totalizing engagement with piety during Holy Week, famed even to outsiders. In order to convey the Atonement, the texts also used the mercantilist vocabulary of court economic thought. Both abstract ideas and personalized traits were conveyed via allegorical characters, often of some complexity, figures whose music is not easily differentiated from that of the Biblical characters (the Virgin, Peter, Mary Magdalen) who populated the casts. These figures enacted lament, penance, and pedagogical explanation of Redemption, while issues of meditation and even ecstasy were apportioned to the more allegorical roles. Some of the characters and thematics were designed to function at specific political junctures in a given year, and worked together in subtle ways. The chapter concludes with a 1668 work that raises all these issues, Il Lutto dell’Universo, composed by Leopold himself in the midst of a series of disasters, including the death of the infant male heir to the throne.
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Kendrick, Robert L. "Introduction." In Fruits of the Cross. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520297579.003.0003.
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The introduction uses the opening of a 1697 sepolcro, La Virtù della Croce, to introduce the thematics, dramatic means, performance situations, and visual images typical of the genre. It also explains the relationship of the main court figures to Passion devotion, and it sets out questions to be answered in later chapters about the role of allegorical characters in the dramas, the centrality of musical projection, and the dynasty’s investment—real and figurative—in multimedia penitential spectacle.
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Swann, Karen. "The Art of Losing." In Lives of the Dead Poets. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823284184.003.0003.
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Reviving pastoral elegiac form in Adonais, his elegy on the death of Keats, Shelley engages Keats’s allegorical style, which revives antique figures in order to show them passing on. This chapter dwells on Shelley’s figural strategies, especially his treatment of the Mother/Muse Urania, to argue that the poem’s efforts to consolidate the legacies of Keats and second-generation romanticism are shadowed by a story of catastrophe, that of the child who dies before its parental generation. Adonais at once participates in fashioning a romantic movement, corpus, and legacy and simultaneously suggests that lining this aggrandizing project is that which was cut off, aborted, did not come to pass. It thus dramatizes a modernity that is necessarily bound to that which it has failed to succor.
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Smolla, Rodney A. "The Charlottesville Monuments." In Confessions of a Free Speech Lawyer. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501749650.003.0005.
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This chapter discusses the statue of Robert E. Lee that was donated by philanthropist Paul Goodloe McIntire to the city of Charlottesville in 1924. The statue depicted Lee riding his horse in a heroic, dignified pose. It also mentions another statue McIntire commissioned of Thomas “Stonewall” Jackson, who was designed by Charles Keck and set on a granite base carved with the allegorical figures of Faith and Valor. The Lee and Jackson statues embodied the “lost cause” interpretation of the Civil War, a phrase first attributed to Edward A. Pollard, a graduate of the University of Virginia (UVA) and apologist for slavery. This chapter talks about Elizabeth R. Varon, an American history professor, who describes the “lost cause” narrative as the original “false equivalency.”
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Nethercut, Jason S. "Lucretius on the Ennian Cosmos." In Ennius Noster. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197517697.003.0003.
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This chapter approaches Lucretius’ engagement with Ennius on Lucretius’ own terms and explores how the Annales serves Lucretius as a model (or a foil, rather) for poetry about the universe. Lucretius makes clear his identification of Ennius and Ennius’ Homer as poets who also write on “the nature of things” when he singles them out by name in the proem to the DRN (1.117–126). Obviously, the whole tradition of interpreting epic poetry from Homer onward as allegorical philosophy is behind these lines. Throughout the DRN, Lucretius recurrently figures his universe as a direct response to the Ennian cosmos in a procedure that involves philosophical polemics as much as poetic polemics. In so doing, Lucretius articulates a universe whose philosophical dynamics are anti-Ennian, precisely because they are emphatically Epicurean.
Conference papers on the topic "Allegorical figures"
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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.
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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.