To see the other types of publications on this topic, follow the link: Allegorical figures.
Journal articles on the topic 'Allegorical figures'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Allegorical figures.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
Paxson, James J. "Personification's Gender." Rhetorica 16, no. 2 (1998): 149–79. http://dx.doi.org/10.1525/rh.1998.16.2.149.
Full textAbstract:
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.”
3
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.
4
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.
Full text
5
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.
Full textAbstract:
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.
6
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.
Full text
7
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.
Full text
8
King, John N. "The Godly Woman in Elizabethan Iconography." Renaissance Quarterly 38, no. 1 (1985): 41–84. http://dx.doi.org/10.2307/2861331.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Purcell, William M. "Eberhard the German and the Labyrinth of Learning: Grammar, Poesy, Rhetoric, and Pedagogy in Laborintus." Rhetorica 11, no. 2 (1993): 95–118. http://dx.doi.org/10.1525/rh.1993.11.2.95.
Full textAbstract:
Abstract: Eberhard the German's Laborintus, the first of the artes poetriae to be printed, has received comparatively little scholarly attention. Both Kelly and Murphy have noticed that the work conveys a pedagogical emphasis. This essay, however, demonstrates that Laborintusis not merely a manual for teachers of verse. Rather, the work is a delightful maze of verse, grammar, and rhetoric, a labyrinth of learning containing an allegorical account of grammar,poesy, and rhetoric. On one level, the rhetorical figures are used as inventional schemes for the composition of verse in proper meter. However, the examples used in Eberhard's account of the rhetorical figures also contain Christian homilies on faith and action that are exemplary primers for teachers. The homilies in tum underscore Eberhard's pedagogical theory, which is ultimately the key to his labyrinth.
12
Knighton, Tess, and Carmen Morte García. "Ferdinand of Aragon's entry into Valladolid in 1513: The triumph of a Christian king." Early Music History 18 (October 1999): 119–63. http://dx.doi.org/10.1017/s0261127900001856.
Full textAbstract:
These lines adorned one of the triumphal arches built in honour of Ferdinand of Aragon's ceremonial entry into Valladolid on 5 January 1513. This event, like so many other such entries throughout Europe during the sixteenth century, was intended to recall the Triumphs of the Roman emperors, though it was also embedded in a long-established entry ritual. The ephemeral buildings all'antica, the apparati, street decorations, pageants with allegorical, mythological and historical figures, as well as music and dancing of various kinds all formed part of a royal spectacle devised according to the political process of image-making.
13
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.
Full textAbstract:
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.
14
Orlemanski, Julie. "Literary Persons and Medieval Fiction in Bernard of Clairvaux’s Sermons on the Song of Songs." Representations 153, no. 1 (2021): 29–50. http://dx.doi.org/10.1525/rep.2021.153.3.29.
Full textAbstract:
Like many exegetes before him, the twelfth-century Cistercian abbot Bernard of Clairvaux regarded the lovers in the Song of Songs as allegorical fictions. Yet these prosopopoeial figures remained of profound commentarial interest to him. Bernard’s Sermons on the Song of Songs returns again and again to the literal level of meaning, where text becomes voice and voice becomes fleshly persona. This essay argues that Bernard pursued a distinctive poetics of fictional persons modeled on the dramatic exegesis of Origen of Alexandria as well as on the Song itself. Ultimately, the essay suggests, Bernard’s Sermons form an overlooked episode in the literary history of fiction.
15
Walton, Audrey. "The Seafarer, Grammatica, and the making of Anglo-Saxon textual culture." Anglo-Saxon England 45 (December 2016): 239–64. http://dx.doi.org/10.1017/s0263675100080285.
Full textAbstract:
AbstractDespite the popularity of The Seafarer within Old English scholarship, the poem's governing logic remains unclear, in large part because of the enduring mystery surrounding the poem's use of the compound expression forþon. This study will argue that the repeated use of forþon in The Seafarer reflects the anaphoric repetition of causatives in the Psalter. Moreover, through its repetition of forþon clauses, the poem invites the reader to approach the text using interpretive strategies commonly associated with the Psalms. Especially in the commentaries of Augustine, Cassiodorus and Origen, allegorical interpretation of the Psalms is linked to theories of subjectivity: different levels of the Psalms’ meaning often reflect different interpretations of the Psalms’ first- person speaker. Drawing on this link between biblical allegory and patristic theories of the self, The Seafarer uses the Old English Psalms as a backdrop against which to develop a specifically Anglo-Saxon model of Christian subjectivity and asceticism. In the layered complexity of its imagery, the poem offers more than vernacular glossing of originally Latin allegory: it creates allegorical figures within the medium of Old English. Implicitly, the poem makes claims for the medium of the vernacular, as well as for the model of subjectivity belonging to it, as a vehicle for reflection and contemplation.
16
Park, Augustine SJ. "Racial-Nationalism and Representations of Citizenship: The Recalcitrant Alien, the Citizen of Convenience and the Fraudulent Citizen." Canadian Journal of Sociology 38, no. 4 (2013): 579–600. http://dx.doi.org/10.29173/cjs17939.
Full textAbstract:
This paper traces racial-nationalism through three recent sites of controversy relating to citizenship: the banning of face coverings while swearing the citizenship oath, the evacuation of Canadians abroad and the revocation of the citizenship of 1,800 alleged to have gained citizenship through fraudulent means. Racial-nationalism is an architecture of race-thinking defined by (1) cultural racism, which operates as a strategy of “sorting out” outsiders from insiders and (2) expulsion or what Hage refers to as the logic of pure exclusion. Through an interrogation of online reader commentary responding to news reporting, this paper examines three allegorical figures at the core of public discourses representing citizenship: the recalcitrant alien, the citizen of convenience and the fraudulent citizen.
17
Drzewiecka, Ewelina. "‘Hinc Habitat Regina Voluptas’: Literary Sources of Book III of Marcellus Palingenius Stellatus’ Zodiacus vitae (1536)." Ruch Literacki 58, no. 3 (2017): 237–57. http://dx.doi.org/10.1515/ruch-2017-0031.
Full textAbstract:
Summary This article explores the literary sources of Book III of Zodiacus vitae, a philosophical poem by Marcellus Palingenius Stellatus. Publish in Venice in 1536, it was banned by Inquisition and condemned to oblivion in its native Italy. The infamy of the work in Italy was in stark contrast with the popularity it enjoyed in early modern Europe, including Poland. Book III (Gemini), which contains the work’s best passages, tells the story of the poet’s journey to the Garden of Lust (Voluptas), filled with a series of allegorical figures, where he was lectured on the nature of pleasure and its uses. In this way the garden is turned into Humanist locus docendi. The article tries to explain the main philospohical sources and contexts of this learned debate.
18
Moffitt, John F. "A Hidden Sphinx by Agnolo Bronzino, “ex tabula Cebetis Thebani”." Renaissance Quarterly 46, no. 2 (1993): 277–307. http://dx.doi.org/10.2307/3039062.
Full textAbstract:
In 1568 Giorgio Vasari Described (from already dim memories) a now-famous allegorical painting that had been painted by Bronzino (Agnolo Allori) for Cosimo I de’ Medici. Now usually known as The Exposure of Luxury, the picture in the National Gallery in London seems by general acknowledgement to have been done around 1545 (Fig. I). According to Vasari's recollection Bronzino had “made a picture of singular beauty” that was sent to the king of France, François I. As best as Vasari could recall, the particulars of its complicated iconographic program were all devoted to variations on an erotic theme inasmuch as the picture included figures of “a nude Venus with [her son] Cupid, who was [shown] kissing her, and alongside [them] there were [other representations of] ‘Pleasure - il Piacere’ and ‘Idle Sport - il Giuoco’ accompanied by other ‘Loves-Amori.’
19
Sutton, Elizabeth. "Mapping Meaning: Ethnography and Allegory in Netherlandish Cartography, 1570-1655." Itinerario 33, no. 3 (2009): 12–42. http://dx.doi.org/10.1017/s0165115300016247.
Full textAbstract:
As was the norm with frontispiece illustration in the sixteenth and seventeenth centuries, the figures personifying the four continents on the title page to Abraham Ortelius's Theatrum Orbis Terrarum were allegorical stand-ins, representing both a geographical place and its identifying features, symbolised by their appropriate accoutrements (fig. 1). They were not meant to serve as documentary evidence of diverse peoples, which partially explains why the personifications of the four continents are generalised and generic and adopt classicising ideals for body type and posture. In contrast, Willem and Joan Blaeu's map of Africa from 1655 includes ethnographic images as border decorations (fig. 2). These are more naturalistic and taken from contemporary travel accounts, suggesting the presence of factual information sources. Yet both the title page and the map share a visual language that signalled culturally-specific meaning to the viewer.
20
Chinita, Fátima. "Derek Jarman’s Allegories of Spectacle: Inter-Artistic Embodiment." Acta Universitatis Sapientiae, Film and Media Studies 11, no. 1 (2015): 143–58. http://dx.doi.org/10.1515/ausfm-2015-0020.
Full textAbstract:
Abstract Derek Jarman was a multifaceted artist whose intermedial versatility reinforces a strong authorial discourse. He constructs an immersive allegorical world of hybrid art where different layers of cinematic, theatrical and painterly materials come together to convey a lyrical form and express a powerful ideological message. In Caravaggio (1986) and Edward II (1991), Jarman approaches two European historical figures from two different but concomitant perspectives. In Caravaggio, through the use of tableaux of abstract meaning and by focusing on the detailing of the models’ poses, Jarman re-enacts the allegorical spirit of Caravaggio’s paintings through entirely cinematic resources. Edward II was a king, and as a statesman he possessed a certain dose of showmanship. In this film Jarman reconstructs the theatrical basis of Christopher Marlowe’s Elizabethan play bringing it up to date in a successfully abstract approach to the musical stage. In this article, I intend to conjoin the practice of allegory in film with certain notions of existential phenomenology as advocated by Vivian Sobchack and Laura U. Marks, in order to address the relationship between the corporeality of the film and the lived bodies of the spectators. In this context, the allegory is a means to convey intradiegetically the sense-ability at play in the cinematic experience, reinforcing the textural and sensual nature of both film and viewer, which, in turn, is also materially enhanced in the film proper, touching the spectator in a supplementary fashion. The two corporealities favour an inter-artistic immersion achieved through coenaesthesia.
21
Gross, Kenneth. "Angus Fletcher’s Precious Idiosyncrasy." boundary 2 47, no. 4 (2020): 157–79. http://dx.doi.org/10.1215/01903659-8677875.
Full textAbstract:
The essay describes Angus Fletcher’s ambitious, often uncanny ways of mapping the nature of literary form and literary knowing. The essay describes how Fletcher himself describes our crucial metaphors of order and disorder, our “cosmic” (sometimes cosmetic) images, how he explores their conditions of possibility. The focus is on three words, three figures of thought in Fletcher’s work: daemon, central to his picture of allegorical agency, its compulsive, almost supernatural character; gnome, or the gnomic, a name for what’s most secret, most difficult, and yet most fundamental in literary expression; and horizon, a mark of how human thought, in collaboration with nature or the given world, shapes an image of space, direction, and limit, an imaginary line that also helps to frame ideas of transcendence. Taken together, these three words offer coordinates by which one can start to map the unfolding labyrinth of Fletcher’s conceptual world.
22
Walz. "“In the Kaleidoscope of Desire”: Reading Allegorical Figures from Edmund Spenser's The Faerie Queene in Angela Carter's Three Cat Tales." Marvels & Tales 30, no. 2 (2016): 268. http://dx.doi.org/10.13110/marvelstales.30.2.0268.
Full text
23
Llewellyn, Nigel. "Honour in Life, Death and in the Memory: Funeral Monuments in Early Modern England." Transactions of the Royal Historical Society 6 (December 1996): 179–200. http://dx.doi.org/10.2307/3679235.
Full textAbstract:
In the parish churches and cathedrals of England and Wales stand many thousands of early modern funeral monuments. Typically, these are elaborate structures of carved stone, often painted and decorated in bright colours and trimmed with gilding. Their complex programmes of inscribed text, allegorical figures, heraldic emblazons and sculpted effigies are set within architectural frameworks. With a few exceptions, such as the famous memorials to Queen Elizabeth, William Shakespeare or John Donne, these monuments are relatively little studied and little known. However, they were extremely costly to their patrons and prominently displayed in churches in purpose-built family chapels or against the wall of the sanctuary. Contemporary comment reveals that they were accorded high status by both specialist commentators, such as antiquaries and heralds, and by the patrons who invested in them so heavily. All-in-all, they represent what was the most important kind of church art made in the post-Reformation England, a period when there was a great deal of general uncertainty about the status of visual experience and particular worries about the legitimacy of religious imagery.
24
Hasan, Mariwan, and Diman Sharif. "William Golding’s Lord of the Flies: A Reconsideration." NOBEL: Journal of Literature and Language Teaching 11, no. 2 (2020): 125–36. http://dx.doi.org/10.15642/nobel.2020.11.2.125-136.
Full textAbstract:
This paper reconsiders William Golding’s Lord of the Flies. Allegorical writings can illustrate ethical, social or psychological and moral issues using the manipulation of images that have stipulated meanings other than their meanings as imitations of the actual world. Allegory has been used widely throughout history in all forms of art, and comprehensible for the reader, conveys hidden meanings through symbolic figures. Lord of the Flies had been written in relation to historical circumstances of the twentieth-century and to the personal experience of William Golding. Also, it has provided a critical analysis of the novel that treated the prominent perspective and elements in it. The novel is a parallel of life in the late twentieth century, while it looks like society a stage of enhancement in technology whereas, human morality is not completely mature yet. “Lord of the Flies is an allegorical microcosm of the world. The destruction of World War II because of the dictators who initiated this war has a profound impact on William Golding himself”. In the beginning, the paper gives an introduction to Golding’s point of view on humanity with the title of how to draw attention to me through allegory and fable, two forms of imaginative literature that encouraged the reader and listener to look for hidden meanings. Then it deals with William Golding’s Lord of the Flies from the cultural approaches of that time, who is one of the most prominent literary men of postmodernism that was famous for utilizing symbolism within the novel; “he used different kinds of symbols, characters, objects, animals, colors and setting to convey his message about his main theme”, in the last section we analyzed the postmodern features in Lord of the Flies and how they are used to depict Golding’s view. The way Golding uses allegory strengthens the symbolism of his novel. Finally, it tackles the educational value through his experiences in teaching along with critical analysis of Golding’s technique.
25
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.
Full textAbstract:
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.
26
Pedersen, Elisabeth Skou. "Den bogstavelig død. Det neobarokke vanitasmotiv i Durs Grünbeins "I provinsen" (1999)." K&K - Kultur og Klasse 39, no. 111 (2011): 83–95. http://dx.doi.org/10.7146/kok.v39i111.15757.
Full textAbstract:
THE LITERAL DEATH. THE NEO-BAROQUE VANITAS MOTIF IN “IN THE PROVINCE”This paper investigates the use of Baroque imagery in the cycle of vanity poems “In the Province” (OIn der Provinz”) (1999) by the German poet Durs Grünbein (1962-). GrünbeinOs poetics revolves around a notion of human life as essentially material and physical. In his treatment of death, this point of view connects him with Baroque vanity poetry following the tradition of Andreas Gryphius (1616-1664). On the basis of a concept of a transhistorical Baroque discourse, I discern a negotiation of Baroque tropes in the poems, focusing on the use of antithetical, analogical, and allegorical figures, as well as an objectifying gaze similar to that of the Baroque vanitas painting. Shifting the metaphysical framework of the historical Baroque to a predominantly physical one, Grünbein reinstates the value of the individual in its bodily existence, thereby reinterpreting the meaning of the OvanityO of material things. Comparing this formal remodelling to the postmodernist and modernist Neo-Baroque concepts, I argue that a reading of Grünbein’s vanitas can be used in a new conceptualization of the Neo-Baroque, which I term ‘dialogical’.
27
Orban, Clara. "Contextualizing History in Hungarian Films of the New Millennium." Hungarian Cultural Studies 6 (January 12, 2014): 40–50. http://dx.doi.org/10.5195/ahea.2013.111.
Full textAbstract:
Hungarian films produced after the year 2000 build on the historical reality of the fall of communism and anticipate, or come to terms with, entry into the European Union. This article will explore six films that deal with history through multiple perspectives to dramatize the dynamic between historical events and human responses to them. These films reference history, or efface it, as a way of problematizing the relationship between human behavior and history. Colossal Sensation [Világszám – Dodó és Naftalin] (2005) and Children of Glory [Szabadság, szerelem] (2006), for example, examine Hungarians’ moments of defiance during the 1956 uprising but shape historical events to fit human constructs. Contemporary history provides satire of rising capitalism in The District! [Nyócker!] (2005) whose plot weaves historical figures into a modern rendition of Romeo and Juliette. Miracle in Krakow [Csoda Krakkóban] (2004) also presents a book as its central metaphor, and, like The District!, the book allows some of history’s uglier moments to be erased. Béla Tarr’s Werkmeister Harmonies [Werkmeister harmóniák] (2000) and Nimród Antal’s Control [Kontroll] (2003), films without overt historical markers, provide allegorical visions of societal unrest that can be read as allusions to millennial concerns.
28
Cutler-Bittner, Jody B. "Charles White." Nka Journal of Contemporary African Art 2019, no. 45 (2019): 140–49. http://dx.doi.org/10.1215/10757163-7917192.
Full textAbstract:
The recent exhibition Charles White: A Retrospective (Museum of Modern Art, New York, October 7, 2018–January 13, 2019) offered a chance to consider the technical and iconographic breadth of an oeuvre that has been exhibited mainly in sporadic doses for the past few decades and has expanded in scope through recent attention from a subsequent generation of African American artists, including several students as well as art scholars. White (1918–79) was vocally committed from the mid-1960s through his final decade to African American art subjects in tandem with social issues, climactic in poignant, politically charged lithographs in a realist drawing style set in increasingly abstract environments. By then associated with the Black Arts Movement, he continued to recycle historical figures and references from his earliest work in the milieu of a Black Renaissance in Chicago and bolstered by the Works Progress Administration, which, with reciprocal viewing, takes on a collective modernist context in terms of current events related to African American experience and American life broadly, even where allegorical. White’s prolific graphic experimentation yielded varied surface patterns that often evoke content-laden textures, elided into several distinctive late paintings also featured.
29
Shirokova, Lyudmila F. "Variations on Russian motifs in Slovak prose of the 21th century." Slavic Almanac, no. 1-2 (2020): 434–45. http://dx.doi.org/10.31168/2073-5731.2020.1-2.4.02.
Full textAbstract:
The historical and cultural ties between Slovakia and Russia have a long tradition. They manifested themselves and continue to appear both directly, in the form of various kinds of contacts, and indirectly, in different versions of their artistic understanding. Russian motifs and characters found in the Slovak prose of recent years, perform certain creative tasks that the author sets for himself. In the realistic literature of the 21st century, the Russian characters represent individual, historically and psychologically determined types that include both politicians and ordinary people. The time of narration usually refers to the past, that is, to the period of socialism. Particularly, they dwell upon the topic of the Gulag, the August events of 1968 in Czechoslovakia and reproduce pictures of the subsequent years of “normalization”. Examples of such a reflection of Russian motifs and figures are the works of S. Rakus, P. Rankov, J. Banaš. The use of Russian realities and themes in the literature of postmodernism gives other possibilities for its embodiment. The authors prefer a predominantly metaphorical, allegorical form. This is illustrated by the books of P. Vilikovsky, M. Hvoretsky, D. Majling. They contain allusions to Russian images and realities, conditioned by the intertextuality inherent to postmodernism, and use techniques of pastiche, palimpsest, grotesque, and absurdity.
30
Baker, Charlotte. "Angry laughter: Postcolonial representations of dictatorial masculinities." International Journal of Francophone Studies 22, no. 3 (2019): 233–49. http://dx.doi.org/10.1386/ijfs_00003_1.
Full textAbstract:
Abstract Focusing on the representation of the masculinity of dictator figures in Cheik Aliou Ndao's Mbaam dictateur (1997) and Baba Galleh Jallow's Angry Laughter (2004), this article explores the imbrication of social realities, power structures and literary expression that characterizes these texts as dictator-novels. It considers the writers' reappropriation of the border between animal and human as a means by which to level an allegorical political critique in the guise of a fable. In so doing, it emphasizes their representation of the hypermasculine body of the dictator and its centrality to emerging nation states that are defined by class and ethnic relations. Finally, its focus turns to the importance of voice to examine the aesthetic of these two dictator-novels, which is of equal importance to our understanding of these texts as their thematic representation. The article thus takes these two literary works as case studies for the dictator-novel at the turn of the twenty-first century to examine the ways in which African writers use the dictator-novel to express the disenchantment of citizens with the long and faltering process of decolonization that, in many countries across Africa, had seen the emergence not of an ideal postcolonial democracy, but instead of a de-humanizing neo-colonial autocracy.
31
Kho, Youenhee. "Meritorious Heroes." Sungkyun Journal of East Asian Studies 21, no. 1 (2021): 1–25. http://dx.doi.org/10.1215/15982661-8873872.
Full textAbstract:
Abstract This study explores the allegorical usage of hawk painting to praise a hero with meritorious deeds in Yuan China (1271–1368) and early Chosŏn Korea (1392–1910). Through an analysis of Yuan-dynasty poems inscribed on hawk paintings, this article demonstrates that paintings of a hawk sitting still on a tree in the woods conveyed the allegory of a hero subduing wily beings, such as rabbits and foxes. Moreover, Yuan paintings of a hawk and a bear (yingxiong 鷹熊) employed a Chinese rebus and represented the animals as heroes, comparing them to historical heroic and loyal figures. This article then turns to Chosŏn Korea, where two types of hawk paintings reflected the Korean reception of Yuan counterparts. One was the painting of a hawk sitting still, which indicated the hero's readiness for future achievements. Another, with the motif of a rabbit caught in the hawk's talons, emphasized the hero's successful achievements and gained popularity through the late Chosŏn dynasty. The Chinese and Korean allegories of heroic contributions emerged in response to complicated politics, as the Yuan government comprised multiple ethnic groups and the early Ming and early Chosŏn were newly established after the fall of previous dynasties. For the same reason, the hawk-hero allegory began to lose its relevance over time, and hawk paintings came to take on rather mundane meanings.
32
Medgyesy S., Norbert. "Teológiai érvelések, hitoktatás és misztériumábrázolás a 18. századi csíksomlyói ferences színpadon (2.)." Studia Theologica Transsylvaniensia 23, no. 2 (2020): 231–72. http://dx.doi.org/10.52258/stthtr.2020.2.03.
Full textAbstract:
In the grammar school of Csíksomlyó (Șumuleu Ciuc), a Franciscan site of Marian pilgrimage in Transylvania, 104 school plays were produced by the pupils between 1721 and 1786. These were predominantly mysteries in the vernacular: Good-Friday Passions, Judgement-Day Dramas and the odd play for Corpus Christi Day or the Assumption. This annual tradition of education as well as pastoral care preserved the characteristics of mediaeval West European mysteries for the longest time and in the farthest geographical location. This paper addresses the question of how these mysteries presented theological or dogmatic facts as staged Poor Man’s Bibles, that is, theatrical catechesis. The first part examines the 106 types of New Testament scenes and their 71 Old Testament antitypes. The following Roman Catholic dogmas were staged in Csíksomlyó: the Trinity; the Creation of the World; the Fall of the Devils; the Fall of Humanity; the Incarnation of the Christ (the so-called Heavenly Trial, Proces de Paradis); the Immaculate Conception, Virginity, Assumption, and Intercession of the Virgin Mary (Maria Advocata); the doctrine of the Eucharist. The theological teachings were cast in the form of human and allegorical figures and presented by the grammar-school students to a numerous and predominantly illiterate audience on a three-level stage, in mother-tongue performances of illustrative verse, in a style adequately sacred as well as easy to comprehend.
33
Medgyesy S., Norbert. "Teológiai érvelések, hitoktatás és misztérium- ábrázolás a 18. századi csíksomlyói ferences színpadon (1.)." Studia Theologica Transsylvaniensia 23, no. 1 (2020): 35–69. http://dx.doi.org/10.52258/stthtr.2020.1.03.
Full textAbstract:
In the grammar school of Csíksomlyó (Șumuleu Ciuc), a Franciscan site of Marian pilgrimage in Transylvania, 104 school plays were produced by the pupils between 1721 and 1786. These were predominantly mysteries in the vernacular: Good-Friday Passions, Judgement-Day Dramas and the odd play for Corpus Christi Day or the Assumption. This annual tradition of education as well as pastoral care preserved the characteristics of mediaeval West European mysteries for the longest time and in the farthest geographical location. This paper addresses the question of how these mysteries presented theological or dogmatic facts as staged Poor Man’s Bibles, that is, theatrical catechesis. The first part examines the 106 types of New Testament scenes and their 71 Old Testament antitypes. The following Roman Catholic dogmas were staged in Csíksomlyó: the Trinity; the Creation of the World; the Fall of the Devils; the Fall of Humanity; the Incarnation of the Christ (the so-called Heavenly Trial, Proces de Paradis); the Immaculate Conception, Virginity, Assumption, and Intercession of the Virgin Mary (Maria Advocata); the doctrine of the Eucharist. The theological teachings were cast in the form of human and allegorical figures and presented by the grammar-school students to a numerous and predominantly illiterate audience on a three-level stage, in mother-tongue performances of illustrative verse, in a style adequately sacred as well as easy to comprehend.
34
Esterson, Rebecca. "Allegory and Religious Pluralism: Biblical Interpretation in the Eighteenth Century." Journal of the Bible and its Reception 5, no. 2 (2018): 111–39. http://dx.doi.org/10.1515/jbr-2018-0001.
Full textAbstract:
AbstractThe Christian discourse of the literal and spiritual senses in the Bible was, in the long eighteenth century, no less tied to perceptions of Jewish interpretive abilities than it had been previously. However, rather than linking Jews with literalism, in many cases the early modern version of this discourse associated Jews with allegory. By touching upon three moments in the reception history of the Bible in the eighteenth century, this article exhibits the entanglement of religious identity and biblical allegory characteristic of this context. The English Newtonian, William Whiston, fervently resisted allegorical interpretations of the Bible in favor of scientific and literal explanations, and blamed Jewish manuscript corruption for any confusion of meaning. Johan Kemper was a convert whose recruitment to Uppsala University reveals an appetite on the part of university and governmental authorities for rabbinic and kabbalistic interpretive methods and their application to Christian texts. Finally, the German Jewish intellectual Moses Mendelssohn responded to challenges facing the Jewish community by combining traditional rabbinic approaches and early modern philosophy in defense of a multivocal reading of biblical texts. Furthermore, Mendelssohn’s insistence on the particularity of biblical symbols, that they are not universally accessible, informed his vision for religious pluralism. Each of these figures illuminates not only the thorny plight of biblical allegory in modernity, but also the ever-present barriers and passageways between Judaism and Christianity as they manifested during the European Enlightenment.
35
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.
Full textAbstract:
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.
36
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.
Full textAbstract:
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.
37
Kobielus, Stanisław. "Świątynia pod wezwaniem Zesłania Ducha Świętego w Otwocku, jej wystrój, symbolika i treści teologiczne dekoracji." Artifex Novus, no. 1 (April 27, 2020): 98–129. http://dx.doi.org/10.21697/an.6324.
Full textAbstract:
W powstaniu struktury architektonicznej budowli świątyni pod wezwaniem Zesłania Ducha Świętego w Otwocku miał udział zespół architektów. Udział w dyskusji nad programem dekoracji wzięli: ks. Stanisław Kobielus, ks. Henryk Herkt oraz artysta Andrzej Zaborowski. Budowę świątyni ukończono w 1987 r. zaś konsekracji dokonał 7 maja 1988 r. ks. biskup Marian Duś. Świątynia posiada bardzo bogaty program ideowy związany z symboliką figur geometrycznych i odwołujący się do tekstów Pisma Świętego, Ojców Kościoła, a także Katechizmu Kościoła Katolickiego. Na ścianie ołtarzowej przedstawiono scenę Zesłania Ducha Świętego, ponieważ parafia i świątynia noszą takie wezwanie. Jednak ideą przewodnią w dekoracji kościoła jest tematyka Niebiańskiej Jerozolimy, która do dziś w Kościele jest uznawana za alegoryczne miejsce ostatecznego szczęścia człowieka po śmierci.
 The Pentecost church in Otwock. Symbolism and theological meaning of its decoration 
 A group of architects worked on the form of the building of the Pentecost church in Otwock. Rev. Stanisław Kobielus, Rev. Henryk Herkt and artist Andrzej Zaborowski discussed the decoration and detailing. The building was finished in 1987 and it was consecrated on the 7th May 1988 by Bishop Marian Duś. The complex ideological decoration of the church is related to the symbolism of geometric figures and refers back to the Scriptures, the writings of the Fathers of the Church and the Catechism of the Catholic Church. The altar centrepiece presents the Pentecost scene referring to the invocation of the church and its parish. However, the main theme in the decoration of the church is the representation of the New Jerusalem which until today is considered by the Church as an allegorical place of eternal happiness after death.
38
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.
Full textAbstract:
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.
39
Weinstein, Cindy. "The Invisible Hand Made Visible: "The Birth-Mark"." Nineteenth-Century Literature 48, no. 1 (1993): 44–73. http://dx.doi.org/10.2307/2933940.
Full textAbstract:
Allegorical characters in Hawthorne's "The Birth-mark" function according to the logic of the market. Selves in this story are like territories that must continually be possessed and repossessed, and the birthmark becomes the site upon which characters fight one another for ownership, self-ownership, and identity. Aylmer views the circulations in Georgiana's bodily economy as signifying an independent self he wishes to control. The marked defines both the relations that characters have to each other and Hawthorne's own relation to his characters, especially Aylmer. Aylmer's desire to erase the birthmark figures his allegiance to the principles of the market economy, principles articulated in the famous invisible hand passage from Adam Smith's The Wealth of Nations. In contrast, the visibility of the birthmark functions as a sign of Hawthorne's literary labor and authorial identity. Hawthorne thus finds himself in the curious position of having created a character whose raison d'etre seems to be the erasure of Hawthorne's own identity. His competitive relation with Aylmer, however, is perfectly logical given that the competition of the market governs all relations in the story. Furthermore, the erasure of the birthmark needs to be read in the context of antebellum American aesthetic ideology. The literary taste that demanded the erasure of the signs of labor grew out of cultural anxieties about new forms of mechanized and specialized labor, and its perceived attack on individual agency. An aesthetic of invisible labor functioned to keep literature separate from the problematics of industrial labor and the developing market economy, and yet, in demanding that authorial agency remain absent, this aesthetic reproduced one of the most troublesome consequences of mechanized labor. Allegory in "The Birth-mark" is thus read as a site upon which authors and readers inscribe the changing relations between labor and identity.
40
Zhang, Xinyu. "Þannig er saga okkar“: Um sagnritunarsjálfsögur og skáldsöguna Hundadaga eftir Einar Má Guðmundsson." Íslenskar kvikmyndir 19, no. 2 (2019): 249–73. http://dx.doi.org/10.33112/ritid.19.2.10.
Full textAbstract:
The ambiguity between reality and fiction haunts Einar Már Guðmundsson’s novel Hundadagar (Dog Days, 2015), as it is a fictional narrative about factual, historical figures and events, such as Jörgen Jörgensen, Rev. Jón Steingrímsson, Finnur Magnússon and Guðrún Johnsen, while the same can be said about many other novels labeled as postmodernism. Canadian literary scholar Linda Hutcheon coined the concept of historiographic metafiction to describe fictions as such, which are “intensely self-reflexive”, while “paradoxically lay claim to historical events and personages”. Hutcheon suggests that historiographic metafictions fully illuminate the very way in which postmodernism entangles itself with both the epistemological and ontological status of history. This paper begins with an introduction to Hutcheon’s theoretical contributions on postmodernism, postmodern literature and the relationship between history and fiction, followed by a reading of Hundadagar as a historiographic metafiction. The narrator’s strategies—such as parataxis, metanarrative comments, we-narrative discourse and documentary intertext—largely indicate an imitation, a revelation, or say, a parody of the process of historian’s writings. The paper further suggests that it is the Icelandic financial crisis in 2008 that prompts the narrator to revisit the 18. and 19. century, since the financial crisis takes the role of a rupture of the Enlightenment ideals, leading to disorder and chaos. Moreover, the narrator finds an uncanny similarity between the past and the present, as if the history has been repeating itself. The spectre of history keeps (re)appearing in a deferred temporality. While revisiting the past, the narrator also (re)visits the present in an allegorical way. In a word, as a historiographic metafiction, Einar Már Guðmundsson’s Hundadagar is “fundamentally contradictory, resolutely historical, and inescapably political”, just as Hutcheon’s perception of postmodernism.
41
Shtalenkova, K. I. "THE GOLDEN STANDARD OF THE NATION: THE SIGNIFICANCE OF PERSONIFICATIONS IN THE DESIGN OF NATIONAL CURRENCIES IN EASTERN EUROPE." UKRAINIAN CULTURAL STUDIES, no. 2 (7) (2020): 81–86. http://dx.doi.org/10.17721/ucs.2020.2(7).15.
Full textAbstract:
This article investigates the significance of personifications depicted on national currencies of Eastern Europe in the 19th – 21st cent. Eastern Europe is considered as a region of high research potential due to its status of borderland space with active symbolic struggle on political, socioeconomic and cultural levels. Currency design is an ideological tool that defines collective cultural tradition and historical memory, while national narratives vary in their response to the conditions of their formation. Basing on the visual analysis of money that circulated on the territories of Belarus, Lithuania, Poland, Russia and the Ukraine, the author outlines main categories of human depictions used in the currency design of the states that emerged in the region during the mentioned period. In the 19th cent., most widespread were money of the Russian Empire featuring the emperors and state representation Mother Russia. After the October Revolution in 1917, new states emerged in the region, but no personifications were used in their currency design. Human depictions of that time featured either ordinary people correlating with socialist movements or notable persons denoting political and cultural authenticity of certain state. Another category of human depictions was allegorical feminine figures representing patriarchal values and reproductive resources. Most remarkable examples of this type are Polish coins depicting state representation Polonia (or queen Jadwiga) as well as Polish banknotes with Mother Poland and national heroine Emilia Plater, both issued during the dictatorship of Jósef Piłsudski. Contemporary issues of money use no state representations, preferring instead either notable people, mostly men among them, or introducing other means of cultural representations not related to human depictions. Thus state representations used in the designs of national currencies become less popular in the 21st cent. due to globalisation and de-materialisation of money.
42
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.
Full textAbstract:
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, ...
43
Khomyakov, Sergey A. "«Shortening The Parting» By Veniamin Borisov: Metamorphoses оf Time And Space". Proceedings of Southern Federal University. Philology 2020, № 4 (2020): 158–68. http://dx.doi.org/10.18522/1995-0640-2020-4-158-168.
Full textAbstract:
The article examines the specificity of the artistic time and space of V. Borisov’s poetry «Shortening the parting» (2018). The purpose of the study is to identify the features of the spatio-temporal organization and semantics of the frame elements. During the research, textological and hermeneutic methods were implied. The book’s architectonics is based on the opposition of spatial and temporal forms. Such a construction is directly related to the semantics of poetry and the formation of a certain picture of the world of Borisov, whose lyrical character overcomes loneliness. The name of each poem is not only a reference to a specific source, but also a «key» important for understanding the underlying meaning (an indication of a fact or event). Seven color illustrations introduced into the collection make it possible to combine two types of art, and the poet to make his poems «visible» and create a chronicle of the main events. Contrasting in the collection near and far (city and village), closed and open (room and street) spaces, both in texts and in illustrations, V. Borisov focuses on the feelings the protagonist experiences when he is forced to gradually overcome loneliness. The season depicted in the figures is summer, the semantics and images of which appear throughout the collection and which is often contrasted with winter paintings. The main topos, where events unfold, appears to be Moscow as a city that “absorbed” the features of Dostoevsky’s Petersburg. The space of the capital appears as an alien to the lyrical character, who is forced to «wade through traffic, advertising, movie trailers.» Physical or cyclical time is either stated specifically («today»), or is present in allegorical images with accompanying motives. The effect of «slowed down» time can be achieved not only by the lack of indication of dates, but also by attachment to generally accepted or national events. Various spatial and temporal forms are presented in the book of poems «Shortening the Parting» by V. Borisov, which testifies to the complex organization of the collection and the author’s intention.
44
Dyadyshcheva-Rosovetska, Juliya. "Methodological notes on the complex linguofolkloristic analysis of the poetics of the Methodius's translation of the Song of Songs." Current issues of Ukrainian linguistics theory and practice, no. 42 (2021): 121–39. http://dx.doi.org/10.17721/apultp.2021.42.121-139.
Full textAbstract:
The article is devoted to some methodological issues that arise in the linguistic and folklore analysis of the poetics of the Methodius's translation of the Song of Songs, which we consider as an orally poetic text, later elaborated in literature. The parameters of interlingual, interfaith and interethnic transmission under conditions of considerable time duration are outlined. Problems related to layers not only temporal, but also within several ethnic traditions, namely: ancient Egyptian, ancient Jewish, ancient Greek, ancient Slavic. There are a number of tropes and stylistic figures that are used as a means of organizing the text or used as components for stylistic symmetry. These are permanent epithets, different types of repetitions, anaphora and epiphora, tautological combinations, pleonastic combinations, allegories, comparisons, ekphrasis, specific composites, etc. It is possible to involve in the study of common in folklore hyperbole, personifications, paraphrases. The range of methodological difficulties is outlined. The article warns about the counterproductiveness of the study of literary tropes in isolation from the contexts of specific works, in the abstract non-ethnic continuum, although in synchrony and diachrony. If in the national literatures, especially in the early stages of their development, there are peculiar genre systems, then in folklore there are differences in genres of even related ethnic groups. Hence, the need to take into account the differences between the genres of wedding poetry in ancient Aramaic folklore and in the oral traditions of the peoples whose scribes translated the poem. The importance of a specific contextual study of the tracks of the Song of Songs is emphasized, because the movement of its texts in time and space is a change in their perceptions by translators, editors, transcribers, which leads to changes in understanding and aesthetic acceptance of the monument by readers. It is stressed that the full picture can be obtained only by examining all the national and ethnic branches of the family tree of the monument. The question of place in such a comprehensive study of religious allegorical and symbolic interpretations is also delivered in the article.
45
Gligorijevic-Maksimovic, Mirjana. "Classical elements in the endowments of Serbian XIII century donors." Zbornik radova Vizantoloskog instituta, no. 46 (2009): 255–64. http://dx.doi.org/10.2298/zrvi0946255g.
Full textAbstract:
In Byzantine painting, starting from the XIII and particularly during the XIV century, there was a visible return to models from the period of Antiquity. The influences of ancient, ostensibly, Hellenistic heritage were reflected in the shapes, in the content of the compositions, as well as in the drawing, modellation and colours. In the art that came into being in the course of the XIII century, in the endowments of the Serbian donors numerous elements emerged that had existed in ancient art. In the frescoes in the Church of the Mother of God in Studenica, the endowment of Stefan Nemanja and his sons, we see personifications, symbols, the introduction of details, and space acquiring depth, features that were later to come to full expression, especially from the middle of the XIII century. The few preserved frescoes dating from the XIII century in the Church of the Resurrection in the Zica monastery, the endowment of Stefan the First Crowned, his son Radoslav and his brother Sava, are an iconographic continuation of the trends in the art one encounters in Studenica. The frescoes in the Church of Christ's Ascension in Mileseva, the endowment of King Vladislav, with their subtly fashioned figures and carefully modelled faces, as well as refined colouring, signal a return to the Hellenistic models. The painting in the Church of Dormition of the Virgin in the Moraca monastery, the endowment of Prince Stefan, nephew of king Stefan, with its well-proportioned, firmly modelled figures, landscapes and architecture deepening the space, reminds one of the Sopocani frescoes. In the fresco painting of the Holy Apostles in Pec, the endowment of Archbishop Sava which owed its outcome to the efforts of Archbishop Arsenije I, the images are very vivid, and the painted architecture is depicted in an abbreviated form, using different kinds of perspective. The painting in the Church of the Holy Trinity in Sopocani, the endowment of king Uros I, represents an ensemble of new artistic trends that appeared during the first half of the XIII century. Its spacious and monumental compositions present solutions that give the figures a quality of flexibility and breadth to their movements, while their faces resemble those of Antiquity. The space is indicated by architecture painted in an abbreviated manner, the iconostasis and icons are framed in an ornament of stucco bearing antique motifs, some scenes contain personifications, while the rich and harmonious colours and gold in the background emphasise the Hellenistic spirit. The frescoes in the Church of the Annunciation in the Gradac monastery, the endowment of Queen Jelena followed the trends in painting from Sopocani. The figures in the narthex of the Church of St. George in Djurdjevi Stupovi and in the parekklesion of the entrance tower, the endowment of King Dragutin, were painted in a rather similar fashion. The decoration of St. Ahilije in Arilje, the endowment of King Dragutin, consists of monumental figures of ancient beauty, richly painted architecture in the background, and greater depth painted in different forms of perspective and scenes containing details from everyday life. During the XIII century, the proportions of the compositions became larger, the number of participants in them increased, various episodes were added to the existing scenes, and the space was defined by a larger number of plans and buildings of ancient forms. At the same time, the painted architecture was presented in the perspective of different projections, deepening the space when necessary and highlighting the subject matter. The landscape is presented in the background, keeping to the rhythm of the scene or partitioning the episodes within the composition, while depicting vegetation and animals that resemble the mosaic flooring of ancient times. Special attention was paid to appearance and workmanship, to the modeling of the faces and human figures that acquired the proportions and harmony of Antiquity. Characters with lively movements were more numerous and were located more freely in the space. Compositions were more numerous, enriched with details from everyday life, while into the established scenes as regards Christian iconography were included personifications, symbolic and allegorical figures. The influences of Antiquity were also reflected in the precise drawing, plastic modeling and rich, refined colours. During the XIII century, the revival of models from Antiquity evolved gradually in the painting of the endowments belonging to the Serbian ktetors, most of whom were members of the Nemanjic ruling house. First of all, single elements appeared that were related to the proportions of the compositions and the images, personifications, symbolic presentations, the temperate voluminousity of the figures, refined colours all of which heralded further trends in painting. In addition, the painted architecture, of Hellenistic forms, gained an increasing role in the definition of space. The painting in Sopocani, with its monumental dimensions, its harmony of ancient proportions, precise drawing and modeling, wealth of colours and splendour of gold, reached an outstanding level in the Byzantine painting of that epoch. The decoration of the monuments that were built later, up to the end of the XIII century, mirrored the achievements of the Sopocani painting and continued to develop by including elements from the Antiquity. Thus, at the beginning of the XIV century, the emulation of models from the Antiquity came to full expression in the monumental endowments of King Milutin.
46
Calero-Castillo, Ana Isabel, Ana Carrasco-Huertas, Marta Durbán-García, and Jorge Alberto Durán-Suárez. "Documentación y reconstrucción virtual en restauración de obras pictóricas de gran formato: el lienzo mural de la farmacia Zambrano." Virtual Archaeology Review 11, no. 23 (2020): 141. http://dx.doi.org/10.4995/var.2020.13343.
Full textAbstract:
<p>The aim of this paper is to explain the convenience of photogrammetry and virtual reconstruction applied to the restoration of large format canvas. This study presents the application of these techniques to the restoration and musealization of a late 19th century mural canvas painting attached to the ceiling of the Zambrano Pharmacy (Granada, Spain). The painting is an example of the allegorical motifs that could be found in 19th and 20th century pharmacies. It represents a group of cherubs and allegorical figures of Science or Pharmacy sitting in the clouds; the scene is surrounded by an architectural frame. The mural painting by Francisco Morón &amp; Luján (Granada, 1846 - Huércal-Overa, Almería, 1899) shows his signature in the lower right corner of the painting. The painting was in a good overall condition, but presented considerable yellowing and darkening (due to exposure to nearby pollution from the street, dust, etc.) that required its cleaning to reveal its true colors. In 2018, the pharmacy was acquired by the University of Granada, initiating its transfer to the conservation laboratories for its restoration, with two aims: recovering its original appearance, and preparing for its display in the “Ciencia, ciudad y cambio” exhibition (Hospital Real of Granada, February 6th to may 17th 2019); to this day, the painting is located in the crossing of the Hospital Real.</p><p>Once the intervention started, its large dimensions (7.6 x 3.3 m) made it impossible to obtain a complete high-quality orthogonal image using traditional photography methods. Therefore, it was decided to use photogrammetry for the correct documentation of: a) the initial state of the painting, b) the different restoration phases (initial documentation, mechanical cleaning of the reverse, removal of the protection of the front, cleaning of the front and pictorial reintegration), and c) the final result after the restoration process. Furthermore, this canvas was attached to the ceiling presumably with an animal glue adhesive, and during its intervention it was observed that the imprint of an earlier mural painting was attached to its reverse. Since the reverse of the canvas was hidden by the final mounting system, it was necessary to document the imprint of the previous mural painting adhered to the reverse of the canvas.</p><p>To recreate the original painting and to allow a correct study and comprehension of this work, a virtual reconstruction based on the photogrammetric documentation of the reverse of the painting was achieved. The photogrammetric processing allowed us to obtain high-quality orthogonal images (10000 x 5000 px), thus demonstrating the suitability of this technique for the documentation of a large format canvas. The images obtained were also useful to study the dimensions of the paint, with a total area of 25 m2. Agisoft PhotoScan Professional was used for the photogrammetric model; the three-dimensional (3D) models and the textures were transferred to a 3D free software (Blender) for the rendering and recreation of the models. On the other hand, the virtual reconstruction was made using Adobe Photoshop to recover the entire painting. The methodology consisted in working with different layers to paint the missing parts of the motifs and the simulated architecture; then, the missing parts were reconstructed based on the preserved paint (24.5% of the total area) and, finally, textures and filters were incorporated to simulate the appearance of a mural painting.</p><p>This research has proved photogrammetry is suitable for the documentation of a restoration process for large format pictoric works, since this technique allows to obtain high resolution orthophotos from the different intervention phases. Additionally, the virtual reconstruction has proven to be a useful tool for the documentation of the painting, its registration and its visualization; it can also recreate the decorative pattern and original colors.</p>
47
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.
Full textAbstract:
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.
48
Чмихун, С. Е., та Н. Л. Більчук. "ЗМІ ЯК АГЕНТ НЕЯВНОГО ПРИМУСУ ПОВЕДІНКОВОЇ КУЛЬТУРИ". Humanities journal, № 1 (29 липня 2019): 117–27. http://dx.doi.org/10.32620/gch.2019.1.10.
Full textAbstract:
The media have the ability to detect, store and transform information about stereotypes of behavioral culture, civilized forms of manifestation, both in everyday life of people, and in institutional relations, especially in the business and diplomacy sectors. In their role diversity, the media may implicitly enforce to such standards of behavior that society requires for organized, orderly relationships and compliance with social morals.Nowadays, the media possess unique means of suggestion, persuasion, propaganda and manipulation of the audience. In this process, the mechanism of influence of consciousness is of particular importance in order to change the outer scope of its behavior. At the same time, the media have a number of advantages: the mass media are free of didactics, instruction and tendentious moralisation. Unconditional advantages of the mass media include combinatorics when providing information about the rules of good tone, polite behavior. Many products of the media are widely used in psychological techniques that facilitate the assimilation of information provided, for example, assimilation and recognition. Immanent, unintentional forms of suggestion are also effective, when stereotypes of behavior that correspond to representations of decency are formed without a tangible influence of authority, power or fear of punishment.Moreover, the media are capable of the opposite effect – to simplify, deform the patterns of behavioral culture and relationships, and contribute to the simplification of morality. Such areas in the activities of the media include violation of limits of the decent, mocking sacramental (sacred), turning to vulgar and obscene themes. In pursuit of the attention mass media are able to eliminate restrictions, unvoluntarily call for permissiveness. Such a role in the media is played by advertising, which can adjust to unpretentiousness and easiness, as well as demonstration in programs such things that are clear and desirable to the majority. In this case the stereotypical form of behavior acts through allegorical figures, influencing the individual’s subconsciousness.The article analyzes the place and role of mass media in the formation of stereotypes of behavioral culture. As a result of the study, the conclusion was made about the dual nature of mass-media production: on the one hand, they implicitly influence the spread of etiquette rules, and on the other hand, they can contribute to the simplification of morality and indulge vulgar, obscene, low-lying and impenetrable behaviour.
49
Na'ama Sheffi. "Introducing an Israeli Collective Portrait: The Allegoric Figures Series Banknotes." Israel Studies 24, no. 1 (2019): 54. http://dx.doi.org/10.2979/israelstudies.24.1.03.
Full text
50
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.
Full textAbstract:
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.