Relevant bibliographies by topics / Allegorical interpretation

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Allegorical interpretation'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 June 2025

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Journal articles on the topic "Allegorical interpretation"

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DAVIS, ANNE. "Allegorically Speaking in Galatians 4:21–5:1." Bulletin for Biblical Research 14, no. 2 (2004): 161–74. http://dx.doi.org/10.2307/26422709.

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Abstract This study examines Paul's phrase "allegorically speaking" in Gal 4:24, suggesting that the following passage is not the literary genre of narrative allegory, a method of Greek rhetoric, or a method of interpretation known as "typology." Instead, the study examines another ancient allegorical technique that employed two literary devices to startle the reader and act as markers leading to the Hebrew Scriptures for deeper spiritual interpretations. Furthermore, because these allegorical markers are clustered together in Gal 4:24–28, one can recognize the literary structure. By identifying the method of Paul's argument and the literary structure of the passage, this study promotes further examination of the meaning of these verses by following the allegorical markers to the Hebrew Scriptures.
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DAVIS, ANNE. "Allegorically Speaking in Galatians 4:21–5:1." Bulletin for Biblical Research 14, no. 2 (2004): 161–74. http://dx.doi.org/10.2307/bullbiblrese.14.2.0161.

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Abstract This study examines Paul's phrase "allegorically speaking" in Gal 4:24, suggesting that the following passage is not the literary genre of narrative allegory, a method of Greek rhetoric, or a method of interpretation known as "typology." Instead, the study examines another ancient allegorical technique that employed two literary devices to startle the reader and act as markers leading to the Hebrew Scriptures for deeper spiritual interpretations. Furthermore, because these allegorical markers are clustered together in Gal 4:24–28, one can recognize the literary structure. By identifying the method of Paul's argument and the literary structure of the passage, this study promotes further examination of the meaning of these verses by following the allegorical markers to the Hebrew Scriptures.
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Piehler, Paul. "The Rehabilitation of Prophecy: On Dante's Three Beasts." Florilegium 7, no. 1 (1985): 179–88. http://dx.doi.org/10.3138/flor.7.011.

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Out of the range of learned commentary helpful in the understanding of Dante’s allegory I select, as a not entirely arbitrary starting point, Joseph Mazzeo's wide-ranging exploration of allegorical exegesis, entitled "Allegorical Interpretation and History."'1’ This article, published in 1978, is notable for the unusually clear and firm distinction it draws between allegorical interpretation of texts, normally sacred texts, not actually designed to be read allegorically, and what Mazzeo terms "constructed allegory," that is, "The works of our literary tradition which demand to be understood as allegory rather than simply allowing allegorical interpretation . .(p. 17). After clarifying this essential but all too often obscured distinction, Mazzeo goes on to point out that constructed allegory "should generally be understood as following typological patterns rather than the more abstract and unhistorical patterns of allegorical exegesis.""Typolog-ical" allegory he defines as allegory that "assumes the existence of a central paradigmatic story, of a sacred or near-sacred character, set in the past and assumed to be historical . .(p. 17).
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Bergen, Richard Angelo. "The Lion, the Witch, and the Wardrobe: Mere Allegory or More Allegory?" Journal of Inklings Studies 9, no. 1 (2019): 43–62. http://dx.doi.org/10.3366/ink.2019.0026.

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This essay argues that Lewis understood very well that his fantasy stories—and The Lion, the Witch, and the Wardrobe in particular—would invite allegorical interpretation, and that, in his thought, this fact need not oppose, but might strengthen, their status as mythical fairy stories. It argues that Lewis would not have opposed allegorical interpretation as such, provided that it be done well, without hermeneutical exclusivity, and that the reader not confuse the potential of allegorical interpretations with the genre of allegory. The essay concludes by highlighting features of LWW that invite allegorical interpretation, and asking questions about the role of the reader and the nature of the text. The essay has two overarching objectives as it relates to C. S. Lewis criticism at large and LWW more specifically: first, to encourage investigation of and nuanced thinking about allegory as a genre and as a variety of interpretation; and concomitantly, to discourage polemic against the term ‘allegory’, to avoid its use as a merely negative category contrasting with supposal or romance.
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Grigg, Robert. "Flemish Realism and Allegorical Interpretation." Journal of Aesthetics and Art Criticism 46, no. 2 (1987): 299. http://dx.doi.org/10.2307/431868.

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Kubat, Rodoljub. "Literal in contrast to alegorical interpretation: History versus myth." Zbornik Matice srpske za drustvene nauke, no. 166 (2018): 207–20. http://dx.doi.org/10.2298/zmsdn1866207k.

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Allegoresis as an exegetical method originated within Hellenistic schools of philosophy, and it expressed the Hellenistic thought to a great extent. First interpreters of the Bible who started using allegorical interpretation were the Hellenized Jews - Aristobulos and Philo of Alexandria. Later Christian interpreters followed in their footsteps, especially the representatives of the Alexadrian School, of whom the most notable is Origen. Biblical interpreters were faced with the problem of relation between the literal and the allegorical interpretation from the very beginning. The source of that problem was the Christian understanding of history, namely, the belief that God has really revealed Himself in history. Denial of text?s historical meaning deprived the formative events of faith of any meaning. On the other side, the sole view of the history as series of events from the past which have no deeper meaning led exegesis to sterile literalism. Tensions between the literal interpretation and the allegoresis escalated particularly in the 4th century when Emperor Julian the Apostate tried to revive Hellenistic paganism. In order to revive old myths, he made use of allegoresis. In polemic writings against the Christians he also emphasized that the Bible has to be understood allegorically. Prominent Christian theologians then arose against allegorical interpretation, seeing in it as a serious threat for the correct understanding of the Scripture. In that exegetical battle, the most notable were: Basilius the Great, Diodoros of Tarsus and Theodore of Mopsuestia. In this paper we will take a look at that exact moment in history.
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Yong, Steven. "Rule of Love and Rule of Faith in Augustine’s Hermeneutics: A Complex Dialectic of the Twofold Rules." Veritas: Jurnal Teologi dan Pelayanan 20, no. 2 (2021): 207–18. http://dx.doi.org/10.36421/veritas.v20i2.499.

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Since the sixteenth-century Reformation, literal interpretation of the Bible has been deemed the best hermeneutical method to unearth the biblical writers’ original meaning. For the Reformers, allegorical interpretation was denigrated for reading an extraneous, or spiritual, meaning into any text. Although Augustine was among the first who champions a literal interpretation of the Scripture—as he outlined in his De doctrina christiana—until recent decades, Augustine is still being perceived as inconsistent in following his hermeneutical method as it is attested in his interpretation of the Good Samaritan. In his interpretation, Augustine seems to have allegorized the parable, thus his method was accused of being inconsistent. Is it really the case? This article attempts to contest such an accusation by showing that Augustine’s method of interpretation cannot simply be categorized as either entirely literal or allegorical. Augustine never professes as a literalist, an exegete who only applies what is now known as a historical-critical method. On the other hand, he did not recklessly legitimate the application of allegorical reading to any text. Taken as a whole, Augustine’s hermeneutics revolves around a complex dialectic of regula dilectionis (the rule of love) and regula fidei (the rule of faith) that allows both interpretations to be considered to be true.
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Stone, Michael. "The Interpretation of Song of Songs in 4 Ezra." Journal for the Study of Judaism 38, no. 2 (2007): 226–33. http://dx.doi.org/10.1163/157006307x180192.

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AbstractThe article deals with a passage of 4 Ezra that might well be an allegorical exegesis of Song of Songs. The usual allegory sees the bridegroom as God and the bride as Israel. 4 Ezra is contemporary with Rabbi Aqiba's statements on the allegory of Song of Songs, and is further evidence for the existence of allegorical interpretation. Yet it witnesses a different tradition of allegorical exegesis to the one usually found. This conclusion is compared with various views on Song of Songs and its interpretation.
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Sharma, Arvind. "Accounting for Gandhi's allegorical interpretation of the Bhagavadgītā." Studies in Religion/Sciences Religieuses 32, no. 4 (2003): 499–509. http://dx.doi.org/10.1177/000842980303200407.

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Mahatma Gandhi is well known for offering an allegorical interpretation of the Bhagavadgī tā , whereas the more usual understanding of it in Hindu circles tends to be literal. This raises the question: what factors led Mahatma Gandhi to espouse an allegorical interpretation of the Bhagavadgī tā ? This paper concludes that Mahatma Gandhi preferred an allegorical interpretation on the basis of what he considered the "internal evidence" provided by the Mahā bhā rata and the Bhagavadgī tā and not under the influence of general exegetical trends, historical or contemporary, or of Arnold's translation or Theosophical, Jaina and Christian teachings or on account of his commitment to ahim sā .
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Jacobs, Jonathan. "The Allegorical Exegesis of Song of Songs by R. Tuviah ben ’Eliʽezer—Lekaḥ Tov, and Its Relation to Rashi's Commentary". AJS Review 39, № 1 (2015): 75–92. http://dx.doi.org/10.1017/s0364009414000658.

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This article examines three facets of R. Tuviah ben ’Eliʽezer's commentary,Lekaḥ tov, on Song of Songs: (a) his unique approach to allegorical interpretation; (b) his participation in Judeo-Christian polemics; and (c) the question of a connection between his commentary on Songs and Rashi's. R. Tuviah proposes to read the verses of Songs as simultaneously describing the past, the present, and the future of the Jewish nation, a type of reading that is extremely rare in rabbinic midrashim, which R. Tuviah adopts to create a systematic allegorical commentary. There are similarities between the interpretations of R. Tuviah and those of Rashi; while not numerous, all the same these two scholars were the first to propose a literal interpretation of Songs, they both engaged in similar Judeo-Christian polemic, and they interpreted Songs on the allegorical level in a similar fashion. These points of similarity support the possibility that Rashi was exposed to reports of R. Tuviah's commentary on Songs.
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Dissertations / Theses on the topic "Allegorical interpretation"

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Folkerth, Wes 1964. "Nathaniel Hawthorne's subversive use of allegorical conventions." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56665.

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The literary and socio-political environments of early nineteenth-century America demanded from Hawthorne a new formulation of the allegorical mode, which in turn afforded him means to critique that same historical situation. His metonymic and realistic uses of allegorical techniques invert the emphasis of traditional allegory, permitting him subversively to critique the idealist principles of contemporary historiography and the Transcendentalist movement. Hawthorne's discontent with antebellum historiography's conflation of the Puritan colonists and the Revolutionary fathers, and with Transcendentalism's disregard for the darker side of human nature, led him to critique these idealisms in his fictions. His appropriation of allegorical conventions allowed him to enact this critique subversively, without alienating the increasingly nationalistic American reading public. This subversive program exerts a global influence on Hawthorne's work. The first chapter of this thesis defines my use of the term "allegory." The second situates Hawthorne within the allegorical tradition, the third within the American ideological context. The last two chapters identify and discuss Hawthorne's appropriations of the allegorical conventions of personification and procession as they are found in each of the three forms in which he most commonly wrote: the sketch, the tale, and the historical romance.
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Jefferson, Wayne Hugh. "The educational purpose of art : a study of the life and works of G.F. Watts." Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327608.

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Sherman, Hazel. "Reading Zechariah: an attempt to assess the allegorical tradition of biblical interpretation through the commentary of Didymus the blind." Thesis, University of Birmingham, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492695.

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Hagey, Jason A. "Truth Begins In Lies': The Paradoxes Of Western Society In House M.D." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3264.

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The core of House M.D. is its assertion that current Western civilization lives in a perpetual state of dissonance: we desire to have the rawness of emotion but we can only handle this rawness when we combine it with intellect, even if that intellect lies to us. This is the ontological paradox that the televisual text grapples with. Through the use of archetypal analysis and allegorical interpretation, this thesis reveals that dissonance and its relationship to contemporary Western society. Through House M.D. we realize that there are structures to the paradoxes that we live and there are paradoxes in our structures. Dr. House is a trickster in an allegory of American capitalist culture. The trickster metaphorically pulls away from society the rules protecting cultural values. Dr. House and House M.D. participate in revealing the cultural disruption of the current moment of Western society. While playing on the genres of detective fiction and hospital dramas, House M.D. is an existential allegory exposing the paradox that we can never be free while still seeking our own self-interest.
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Otto, Jennifer. "Reason, revelation and ridicule: assessing the criteria for authoritative allegorical interpretations in Philo and Augustine." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=67046.

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This thesis explores the interplay between reason and revelation in determining authoritative allegorical exegeses of Old Testament texts. Departing from Augustine's ridiculing of Philo's exegesis of the Ark door in Genesis 6:16 as a human anus, this thesis examines the criteria by which Augustine is able to assert that said door is correctly to be identified as the wounds of Christ. Both exegetes understand allegorical interpretation to be a rational exercise, following similar philosophically-derived exegetical principles. However, both Philo and Augustine agree that meaningful allegorical truths can only be discerned from texts whose divine provenance and authority is determined by revelation experienced either by the reader himself or a reliable witness. The conceptualization of salvation both as understood rationally and as experienced beyond reason is a crucial point of divergence. Philo's exegesis– taken by Augustine as representative of contemporary Jewish praxis– is ridiculous not in its methodology but in its failure to recognize the salvific presence of Christ within the Genesis text revealed through the Incarnation.<br>Cette thèse examine l'entremêlement des rôles de la raison et de la révélation déterminant l'autorité des exégèses allégoriques de l'Ancien Testament. Abordant l'analyse par la dérision d'Augustin envers l'exégèse de Philo qui interprète le portail de l'Arche du livre Genèse 6 :16 comme un anus humain, cette thèse explore les critères par lesquelles Augustin, lui, revendique que le portail soit interprète comme étant les plaies du Christ. Les deux exégètes comprennent que l'interprétation allégorique est une exercice rationnelle dont l'exégèse se voit déterminée par des principes philosophiques. Philo et Augustin s'entendent toutefois que des vérités allégoriques pertinentes peuvent seulement être discernées par une révélation vécue soit par le lecteur soit un témoin fiable. Le point de divergence se voit dans l'idée de la conceptualisation du salut par la logique ainsi que par comment celui-ci s'interprète au-delà de raison. L'exégèse de Philo, ainsi considéré par Augustin comme représentatif de la praxis de la communauté Juive de l'époque, est traitée de ridicule non pas a cause de sa méthodologie, mais pour son incapacité d'apercevoir la présence rédemptrice du Christ dans le texte de Genèse révélée de par l'Incarnation.
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Karlowicz, Tobias Amadeus. "Reclaiming Pusey for theology : allegory, communion, and sacrifice." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4122.

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Edward Bouverie Pusey once towered over nineteenth-century British theology, but he has now fallen into almost entire insignificance. However, analysis of this decline (Chapter 1) leads to a reassessment. His development—especially his complicated relationship with pre-Tractarian High Church Anglicanism—shows a deep criticism of post-Enlightenment intellectual trends, from his early years through his association with the Oxford Movement and the Tracts for the Times, to the end of his life (Chapter 2). This criticism led him to the patristic use of allegory, both as a biblical hermeneutic and as a creative, complex, image-based approach to theology (Chapter 3). His development of High Church theology (seen especially through comparison with Waterland) and his use of allegory can be traced throughout his theology. His understanding of union with Christ and theosis reveals both: the sacraments have a strong symbolic dimension, while his positions on baptismal regeneration and the real presence of Christ in the Eucharist show a development rather than a rejection of earlier High Church theology (Chapters 4 and 5). His understanding of the atonement blends High Church reliance on sacrificial types with his unitive theology to reconfigure traditional satisfaction theory as restoration of love for God, rather than redemption from punishment—a position which marks Pusey as an important transitional figure in 19th c. theology (Chapter 6). The flexibility of Pusey's allegorical approach also allows him to blend a High Church tradition of spiritual sacrifice with sacramental participation in Christ's self-offering, so that sacrifice becomes an aspect of union with Christ (Chapter 7). Pusey's use of allegory shows similarities to postmodern theology, while his development of High Church theology shows his originality (Chapter 8).
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Venter, Maré. "The religious thought of Emmet Fox in the context of the New Thought Movement." Thesis, 2004. http://hdl.handle.net/10500/2026.

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The religious significance of Emmet Fox (1886-1951), a pioneer in the New Thought movement, is the focus of this study. The relevance of Fox's religious thought will be determined in reference to and in the context of contemporary theorist Ken Wilber's theoretical framework of integral hermeneutics. On the basis of Fox's primary writings, biographical information, the ideas and philosophy of modern New Thought scholars and Wilber's literature, Fox's religious thought was interpreted and evaluated. Aspects of Fox's belief, such as creative mind, scientific prayer, meditation and healing, concepts such as God, Jesus Christ, death, reincarnation, karma and end times, as well as his method of biblical exegesis are discussed. It becomes apparent that Emmet Fox, preacher and teacher, had never intended to provide a scientific or academic structural doctrine in which to deliver his teaching. His non-conformist, simple, yet well thought-through beliefs, which include esoteric, eastern and universal truths, focused on the fundamental truths that are necessary for humanity's evolutionary development. This approach made Fox's teaching valuable to his audience of the time, a changing American consciousness, as well as appropriate to a transformational South Africa, where it is relevant in bridging the various cultures, languages, and religious beliefs within a continuously changing spiritually minded population, and most of all, beneficial to every person's inner spiritual journey towards ultimate enlightenment. Fox's underlying religious belief is that `the thought is the thing' and this endorses the whole of the New Thought teaching, which states that `whatever the mind can conceive and believe, it can achieve' or `be ye transformed by the renewing of your mind'. Probably the most remarkable feature of his religious thinking is his popular allegorical interpretation of the Bible, which he interprets spiritually. It is apparent that there is an affinity between the religious thought of Emmet Fox and that of Wilber. Although the intent of this study is not to compare these scholars, it is interesting and valuable to Fox's interpretation that they advocate a similar underlying belief in the holistic Kosmos and the importance of having an integral vision.<br>Religious Studies & Arabic<br>D. Litt. et Phil. (Religious Studies)
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Books on the topic "Allegorical interpretation"

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Wünsch, Thomas. Spiritalis intellegentia: Zur allegorischen Bibelinterpretation des Petrus Damiani. S. Roderer, 1992.

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(Translator), Catherine Tihanyi, ed. How Philosophers Saved Myths: Allegorical Interpretation and Classical Mythology. University Of Chicago Press, 2008.

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Ullén, Magnus. The half-vanished structure: Hawthorne's allegorical dialectics. Uppsala Universitet, 2001.

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Dawson, David. Allegorical readers and culturalrevision in ancient Alexandria. University of California Press, 1992.

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Agbenuti, Hugues. Didyme d'Alexandrie: Sens profond des Écritures et pneumatologie. Université de Strasbourg, 2011.

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M, Wright William. Rhetoric and theology: Figural reading of John 9. Walter de Gruyter, 2009.

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

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Fairbanks, Eugene F. A sculpture garden of fantasy: Imaginative, mythical, and allegorical sculpture created for decorative garden display presented with complimentary verse. Elvin Cove Press, 2001.

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

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Hoffmann, Manfred. Rhetoric and theology: The hermeneutic of Erasmus. Buffalo, 1994.

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Book chapters on the topic "Allegorical interpretation"

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

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The article investigates the relationship between Boccaccio's Genealogie and the exegesis of Ovid's Metamorphoses. For each character included in his genealogy, Boccaccio reports first of all the contents of the myth related to it and then the different literal and allegorical interpretations. The main sources are, besides Ovid, Paolo da Perugia and a mysterious Theodontius, who can be identified with a commentary on the Metamorphoses produced in the 11th or 12th century. The article aims to demonstrate that Boccaccio follows the method used by medieval exegetes of the Metamorphoses: rejecting the pagan contents of the myth, the commentators offered an allegorical and moralising interpretation, in fact rewriting the Metamorphoses as a 'medieval' work.
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Ceccarelli, Chiara. "L’alloro poetico fra Petrarca e Boccaccio." In Studi di letterature moderne e comparate. Firenze University Press, USiena Press, 2024. https://doi.org/10.36253/979-12-215-0602-0.11.

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The theme of poetic coronation was of great significance to Boccaccio, and he frequently alludes to the laurel crown when discussing his mentors, Dante and Petrarch. In the chapter of Genealogie deorum gentilium dedicated to Daphne (VII 29), Boccaccio goes beyond his usual literal and allegorical interpretation of the myth, offering a detailed exploration of the laurel tree and its remarkable qualities. This article seeks to uncover the sources Boccaccio drew upon, particularly highlighting the connections with two works linked to Petrarch – Privilegium and Collatio laureationis – and exploring the significance of his citation of a couplet from the Epystola to Bruzio Visconti.
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Masciandaro, Nicola. "Half Dead." In Dark Chaucer. punctum books, 2012. https://doi.org/10.21983/p3.0018.1.08.

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St. Cecilia’s botched beheading in Chaucer’s Second Nun’s Tale masterfully sculpts the conundrum of life/death liminality into a horrific three-day dilation of the moment of martyrdom, opening the decollative blow that typically coincides with receiving its crown into a series of unfinished neck-cuts. Pinched between the cruelty of the headsman’s impotence, the idiotic inflexibility of the law, and her own sacred durability, Cecilia embodies the paradoxical idea of an unending, asymptotically inconclusive decapitation, an infinite series of beheading blows that never severs the head. Her hacked neck fuses into one form the two principles it figurally evokes: the unbeheadability of the body of God —“illius enim capita membra sumus. Non potest hoc corpus decollari” [“We are limbs of that head. This body cannot be decapitated”]2 — and the semi-living nature of fallen humanity, as signified through medieval allegorical interpretation of the traveler who is attacked by robbers on the road from Jerusalem to Jericho and left “half alive/half dead” [semivivus, emithane] (Luke 10:30). The unity of this form is equivalent to the differential non-difference (half alive = half dead) between the Greek and Latin terms. The three-fold opening intensively multiplies the “zero degree of torture”3 into a single tertium quid that is indifferently beyond the distinction between life and death. Being half dead, Cecilia is ultimately alive. Being half alive, Cecilia is ultimately dead. Dwelling in the hyper-intimacy of extreme dereliction, Cecilia is a lacerated, ever-dilating theopathic icon of divinity’s absolute indifference to life and death, its being superessentially beyond both. Her three-day rest from both, during which she simultaneously does nothing and works all the more fervently, exemplifies the “passivity and absence of effort . . . in which divine transcendence is dissolved.”
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Amirav, Hagit, and Emiliano Fiori. "Early Interpretations of Ephesians 5:14: Patristic Concepts of the Resurrection in Literal and Allegorical Circles." In »If Christ has not been raised ...«. Vandenhoeck & Ruprecht, 2016. http://dx.doi.org/10.13109/9783666593741.61.

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"Aristarchus and Allegorical Interpretation." In Ancient Scholarship and Grammar. De Gruyter, 2011. http://dx.doi.org/10.1515/9783110254044.105.

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Mayhew, Robert. "Aristotle’s Naturalistic Interpretation of Odyssey 12." In Aristotle's Lost Homeric Problems. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198834564.003.0010.

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This final chapter considers the textual evidence for Aristotle’s (possible or probable) discussions of three episodes in Odyssey 12, namely, concerning the Sirens, the ambrosia-bearing doves, and the Cattle of the Sun. All three have historically been treated allegorically. Further, as some contemporary scholars take the fragments on these doves and cattle to be evidence for Aristotle interpreting Homer allegorically, this is an appropriate place to return to the issue of whether Aristotle ever employs allegorical interpretation, and as such it serves as an appropriate conclusion to the volume. The essential nature of what Aristotle is doing in his Homeric Problems is to defend Homer (where possible) according to rational principles of literary criticism, but without relying on allegorical interpretation.
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"On Maimonides’ Allegorical Readings of Scripture." In Interpretation and Allegory. BRILL, 2003. http://dx.doi.org/10.1163/9789004453593_010.

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"3. Allegorical Interpretation of Myth." In Introduction to Philosophical Hermeneutics. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300156904-006.

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Spataro, Roberto. "Between Literal and Allegorical Interpretation." In Studia Patristica. Vol. CXXXI - Christians of the Patristic Period in Relation to Nature. Peeters Publishers, 2024. https://doi.org/10.2307/jj.22992797.7.

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"8. On Maimonides' Allegorical Readings of Scripture." In Interpretation and Allegory. BRILL, 2000. http://dx.doi.org/10.1163/9789047400158_009.

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Conference papers on the topic "Allegorical interpretation"

1

Силина, О. В. "Study of Composition “The Last Judgment” in the Wall Painting of the Cathedral of the Nativity of the Virgin, the Ferapontov Monastery." In Сохранение культурного наследия. Изобразительные искусства. Исследования и реставрация. Материалы V Международной научно-практической конференции. Crossref, 2024. https://doi.org/10.62625/9980.2024.37.38.028.

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Abstract:
В статье рассматривается композиция «Страшный суд», представленная на западной стене собора Рождества Богородицы Ферапонтова монастыря. Анализ источников выявил ряд вопросов, требующих дальнейшего изучения. В частности, это коснулось необычной аллегорической трактовки изображения «змея мытарств». Автор исследует фреску и обнаруживает неизвестные ранее детали змея. Благодаря этому впервые делается заключение о традиционном подходе художника к одному из центральных образов композиции «Страшный суд». The article discusses the composition “The Last Judgment” presented on the west wall of the Cathedral of the Nativity of the Virgin in the Ferapontov Monastery. The analysis of the sources revealed a number of issues that require further study. In particular, it concerned an unusual, allegorical interpretation of the image of “the serpent of ordeal”. The author explores the fresco and discovers previously unknown details of the serpent. Thanks to this, for the first time, a conclusion is made about the traditional approach of the artist to one of the central images of the composition “The Last Judgment”.
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2

Kavouras, Pavlos. "Trickster and Cain: An Allegory of Musical and Linguistic Anthropology." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.1-1.

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Abstract:
In this talk, I will juxtapose the mythological figure of trickster with the biblical figure of Cain. In doing so, my purpose is to shed light on the dynamics of human thinking. Trickster is a potent symbol of humanity. It is found in the oral literatures of tribal peoples worldwide, in the context of which his mode of thinking and acting is amply demonstrated. Trickster became widely known to the Western world as a unique expression of humanity, mainly through the works of the anthropologist Paul Radin and the psychologist Carl Jung. Trickstering is a unique human quality which concerns a one-way logic of being in the world. Trickster’s flow of consciousness moves from a center or point of departure outwards, having no destination, and is defined by the lack of any subject / object differentiation. Trickster stands ideally for abductive logic, to use the philosopher Charles Saunders Peirce’s terminology, as opposed to the other two Peircean kinds of logic, inductive and deductive, which I take to represent together the logic of Cain. In the case of Cain, human thinking is characterized by the subject / object divide, which introduces an epistemological and, eventually, a reflexive dualism, with serious, moral, and ethical implications. Cain’s logic flows from the particular to the whole and vice versa, inductively or deductively, as it is defined and determined by the mental law of ‘Two’ in the thinker’s or actor’s reflexive relationship with the world – his or her physical, social, and spiritual cosmos. After setting the stage for a critical encountering between the primitive trickster and the biblical Cain, I will interpret their exchanges and incompatible expressions regarding their non-reflexive and reflexive ways of being in the world, respectively. Finally, I will turn to music and allegory, attempting to blend these two fundamental components of humanity with the archetypal characters of trickster and Cain. It is in the context of such a dialogue that trickster’s encounter with Cain acquires its musical and allegorical momentum, and sheds light through its abductive othering to the question of interpretation and human consciousness.
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