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Journal articles on the topic 'Allegorical interpretation of the Bible'

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Published: 4 June 2021

Last updated: 13 February 2022

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1

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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Kim, Jungwoo. "Once again Looking into the Allegorical Interpretation of the Bible." Canon&Culture 8, no. 2 (October 31, 2014): 5–40. http://dx.doi.org/10.31280/cc.2014.10.8.2.5.

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Bardski, Krzysztof. "Song of Songs and the charism of Mother Theresa of Calcutta (Cant 1:5-2:17)." Warszawskie Studia Teologiczne 32, no. 4 (January 5, 2019): 106–22. http://dx.doi.org/10.30439/wst.2019.4.6.

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The ancient Christian tradition considered the allegorical interpretation of the Bible as an important mean of spiritual formation in the life of the Church. This approach to the Biblical text has been neglected in modern times due to the use of historical-critical methods in the Biblical exegesis. However, it seems that the intuitions of the Fathers of the Church may still be inspiring, especially for certain spiritual actualizations of the Scripture. In some contexts of the life of the Church, e.g. spiritual retreats, the symbolical and allegorical reading of the Bible can be still fruitful, especially in connection with new spiritualties emerging in modern times. Even more, the access to critical editions of patristic works and the semiotic approach to the Biblical text make possible new understandings that may enrich the living tradition of Biblical interpretation.

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Spies, Marijke. "'Poeetsche fabrijcken' en andere allegorieën, eind 16de-begin 17de eeuw." Oud Holland - Quarterly for Dutch Art History 105, no. 4 (1991): 228–43. http://dx.doi.org/10.1163/187501791x00137.

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AbstractThe French poets of the 15th and 16th centuries (the 'rhétoriqueurs') attached importance to 'poetrie' in the sense of fiction- primarily mythological fiction. This view was adopted by rhetoricians in the South Netherlands (De Castelein), where early Renaissance poets subsequently invested mythological 'poetrie' with a neo-platonic theory of inspiration (De Heere). There was however some resistance to this kind of 'poetic' rendering in the North Netherlands, as well as to the allegorical interpretation directly linked with it (Coornhert). There was a twofold reason for this: the Reformatory rejection of allegorical bible interpretation, and the general humanist respect for the literal meaning of texts. Consequently, a different kind of poetry emerged which was more rhetorically argumentative than artistically fictional. Only later Van Mander was to introduce firmly the neo-platonic interpretation of myths, about which he entered into discussion with H. L. Spiegel, a friend of Coornhert's and a leading light in De Eglentier, the Amsterdam chamber of rhetoric.

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Ohana, Michal. "Rabbi Eliezer Ashkenazi's Commentary on the Garden of Eden Story: Between Exegesis and Religious Thought." AJS Review 42, no. 2 (November 2018): 489. http://dx.doi.org/10.1017/s036400941800048x.

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This essay investigates Rabbi Eliezer Ashkenazi's commentary on the story of the Garden of Eden, first exploring his method of Bible commentary in general. In his interpretation of the Bible he vehemently distances himself from allegorical interpretation that abandons the plain meaning of the text, and holds that while biblical stories function as allegory (mashal), they all, without exception, actually occurred as written. Ashkenazi's interpretation of the Garden of Eden episode serves as a platform for presenting his thoughts regarding two of the main issues that occupied Jewish thinkers during the Middle Ages and the early modern period: human perfection and the proper balance between the divine Torah and intellectual inquiry. The examination of Ashkenazi's reading of this biblical episode shows that his perspective concurs with that of his colleagues in the Sephardic Diaspora throughout the Ottoman Empire, who identified with the moderate camp of the Sephardic philosophical tradition, which sees man as the purpose of creation and believes Torah study should precede philosophical inquiry.

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6

Esterson, Rebecca. "Allegory and Religious Pluralism: Biblical Interpretation in the Eighteenth Century." Journal of the Bible and its Reception 5, no. 2 (October 25, 2018): 111–39. http://dx.doi.org/10.1515/jbr-2018-0001.

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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.

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Krzysztofik, Małgorzata. "Motyw walki Jakuba z aniołem w piosence Jacka Kaczmarskiego wobec tradycji żydowskiej i chrześcijańskiej." Poznańskie Studia Teologiczne, no. 32 (August 5, 2019): 229–44. http://dx.doi.org/10.14746/pst.2018.32.14.

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The purpose of this publication is the interpretation of the song of Jacek Kaczmarski titledJacob wrestling with the angel which shows the speci city of the poet’s view of the biblical theme. In the rst part of the article, I discuss the gure of the Patriarch Jacob in the Bible and culture. Then I present the patriarch’s wrestling with an unknown opponent as it is shown in Jewish and Christian commentaries. In the interpretation of Kaczmarski’s song, I draw attention to the di eren- ces and similarities with the Scriptures and with Jewish and Christian interpretations. Kaczmarski creatively reinterprets the biblical theme. The song does not follow Jewish interpretations which see the unknown opponent as a guardian angel of Esau, archangel Michael or Satan. Nor does it follow Christian interpretations (psychological, allegorical, spiritual, mystical). The poem is close to these comments (Jewish and Christian), which in the wrestling opponent see God in the form of an angel and a shepherd. Kaczmarski’s interpretation is unique, for in his poem the main purpose of the struggle is freedom – an overriding value in human life. The winner turns out to be a crippled Jacob. The weak man wins with God because he dared to ght for freedom.

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Budiselić, Ervin. "Lessons from the Early Church for Today’s Evangelical Christianity." Kairos 11, no. 1 (July 9, 2017): 67–90. http://dx.doi.org/10.32862/k.11.1.3.

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Presuming that within Evangelical Christianity there is a crisis of biblical interpretation, this article seeks to address the issue, especially since Evangelicals view the existence of the church as closely connected to the proclamation of the Truth. Starting with a position that Evangelical hermeneutics is not born in a vacuum, but is the result of a historical process, the first part of the article introduces the problem of sola and solo scriptura, pointing out some problematic issues that need to be addressed. In the second part, the article discusses patristic hermeneutics, especially: a) the relationship between Scripture and tradition embodied in regula fidei and; b) theological presuppositions which gave birth to allegorical and literal interpretations of Scripture in Alexandria and Antioch. In the last part of the article, based on lessons from the patristic era, certain revisions of the Evangelical practice of the interpretation of Scripture are suggested. Particularly, Evangelicals may continue to hold the Bible as the single infallible source for Christian doctrine, continue to develop the historical-grammatical method particularly in respect to the issue of the analogy of faith in exegetical process, but also must recognize that the Bible cannot in toto play the role of the rule of faith or the analogy of faith. Something else must also come into play, and that “something” would definitely be the recovery of the patristic period “as a kind of doctrinal canon.”

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Nicholsky, Evgeny, and Dorota Walczak. "FROM HISTORICISM TO SYMBOLISM. CHANGES IN RUSSIAN ORTODOX ICONOGRAPHY OF THE 16th CENTURY." Bulletin of Udmurt University. Series History and Philology 31, no. 2 (May 11, 2021): 271–75. http://dx.doi.org/10.35634/2412-9534-2021-31-2-271-275.

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The main purpose of this article is to show the changes that occurred in Russian church iconography in the 16th century. The authors analyze new iconographic plots that appeared in the 16th century, such as the “New Testament Trinity”, “The Tree of Jesse”, “The Militant Church”, as well as showing plots in which radical changes took place in this century, for example, “The Last Judgment”. The iconography of the four-part icon of the Annunciation Cathedral of the Moscow Kremlin, iconic for 16th-century Moscow iconography, is examined in detail. The main tendency of the era is being restored, consisting in the gradual displacement of historical plots by allegorical-symbolic plots based on the interpretation of the Bible by theologians and on revelations.

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Wijaya, Agetta Putri. "Tafsir Alegoris, Konstruksi Teologis, dan Unsur Erotis dalam Kitab Kidung Agung." Indonesian Journal of Theology 4, no. 2 (December 1, 2017): 237–56. http://dx.doi.org/10.46567/ijt.v4i2.42.

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Song of Songs is afforded relatively rare attention in church, where an allegorical mode of reading often continues to serve as the default interpretative strategy for examining this particular book of the Bible. And this remains the case, despite the development of numerous other approaches that can better account for elements of eroticism as contained in that book. In this essay, discursive problematics arising from the interpretation of Song of Songs are considered in detail, in order to ascertain the reason for the church's aversion toward using some such exegetical method that would be more attuned to the erotic elements within Song of Songs. One's own willingness to be open to such erotic elements in Song of Songs may even assist in bringing the church to realize the riches to be found therein. Such riches may then also serve as basis for a more progressive constructive theology concerning human sexuality. As such, the church may thus regard Song of Songs as its biblical warrant for constructing a theology that regards sexuality in a more positive manner.

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Szram, Mariusz. "Postacie kobiece Starego Testamentu w alegorycznej egzegezie Orygenesa." Vox Patrum 66 (December 15, 2016): 39–56. http://dx.doi.org/10.31743/vp.3449.

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The article systematises the metaphors ascribed by Origen (185-253/254) to the well-known female characters of the Old Testament utilising the method of allegorical exegesis of the text of Scripture. Females appearing on the pages of the historical books of Bible are – according to the Alexandrian – allegories of human virtues or defects. They embody the spiritual warfare between the spirit and the body, between the mind and the feelings. In the collective sense they symbolize the synagogue or the church chosen from the Gentiles, and in the individual sense – the human soul in its relation to God. Origen refers to the telling names of women, translating them and embedding into the spiritual context often giving the several different allegorical meanings to the same biblical person. Despite the often-quoted in his writings beliefs characteristic to the ancient world, proclaiming that the woman is a symbol of bodily feelings and the man – a symbol of the intellectual abilities, majority of allegorical interpretations relating to the Old Testament women indicates a personification of the virtues worthy of imitation. This phenomenon is conditioned with the meaning of the names of those persons and the role attributed to them by the biblical authors, but Origen’s interpretations are original and based on his own concept of spiritual life. They deny opinions of misogyny of Origen and the early Christian writers in general.

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Kroczak, Justyna. "The Role of the Bible in the Formation of Philosophical Thought in Kievan Rus’ (as Exemplified by Ilarion of Kiev, Kliment Smolatič, and Kirill of Turov)." Studia Ceranea 6 (December 30, 2016): 61–74. http://dx.doi.org/10.18778/2084-140x.06.04.

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The article is an attempt to critically evaluate the manifestations of the philosophical culture sprouting in Rus’. With the baptism in the Byzantine Rite, Rus’ in the 10th century joined the family of Christian nations and defined the future direction of her own cultural development. The Middle Ages in Rus’ were eminently theocentric. Literature (which was mostly translated from the Greek in Bulgarian monasteries) had a religious character. Sacral content, assimilated in Rus’ mainly through the Old Church Slavonic (due to the scarce knowledge of Greek) had a decisive influence on formation of the philosophical worldview of Rus’ intellectual elite. The Bible thus became the main reference framework for the first Rus’ thinkers-philosophers: Ilarion of Kiev († 1055), Kirill of Turov († 1183) and Kliment Smolatič († 1164). Ilarion of Kiev, the first metropolitan of the Kievan Rus’ in his rhetoric work (which postulated the superiority of the New Testament to the Old) expressed a philosophical thesis of the equality of all Christian nations before God. Kliment Smolatič, the second metropolitan of Rus’, in his Letter to Presbyter Foma, defended the allegorical method of interpretating the Bible. Kirill of Turov, in his turn, in his Parable of the human soul and body allegorically tried to answer the question about the relationship of the body and the soul. For the Rus’ thinkers the content of the Bible served as a pretext for philosophical reflection, e.g. on the role of man in the universe, on the nature of reality, on the relation between matter and spirit. In their works we find the beginnings of the theory of knowledge, metaphysics, ethics, and aesthetics.

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13

Laynesmith, Mark D. "Stephen of Ripon and the Bible: allegorical and typological interpretations of the Life of St Wilfrid." Early Medieval Europe 9, no. 2 (February 26, 2003): 163–82. http://dx.doi.org/10.1111/1468-0254.00064.

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14

Jua, Lukas. "Penafsiran Alkitab Dari Perspektif Dialog Profetis: Belajar Dari Sejarah." Jurnal Ledalero 15, no. 2 (December 6, 2016): 216. http://dx.doi.org/10.31385/jl.v15i2.47.216-239.

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The progress of biblical interpretation today is the fruit of prophetic dialogue, a basic exegetical attitude shown especially since the Reformation, thanks to Martin Luther’s prophetic courage. He brought the Bible back to the centre of the Church’s life and to its function as its highest authority. Moreover, Luther also paved the way for developing historical-critical methods by revising patristic hermeneutics, emphasizing the literal sense over allegorical ones. Because prophetic dialogue was Luther’s basic perspective, much of his exegesis is still valid today. Modern exegetes interpret the Bible from a similar perspective, and as a result their interpretation promotes ecumenism and inter-religious dialogue. One important initiative is Scriptural Reasoning promoted by Jewish, Christian and Muslim exegetes. <b>Keywords:</b> Reform, counter-reform, prophetic dialogue, critical attitude, courage, freedom, truth, authority, humanism, historicalcritical methods, synchronic approach ------------------------------------------------------------------------------------------------------------------------- Penafsiran Alkitab dari Perspektif Dialog Profetis:Belajar dari Sejarah. Kemajuan penafsiran Alkitab sekarang adalah buah dari dialog profetis sebagai sikap dasar yang ditunjukkan oleh para penafsir sejak awal Reformasi berkat keberanian profetis Luther. Dia mengembalikan Alkitab ke tempat sentral kehidupan Gereja dan menjadikannya sebagai otoritas tertinggi. Lebih dari itu, Luther juga membuka jalan bagi perkembangan penafsiran historis kritis, dengan membuat revisi atas hermeneutik patristik, dengan mengutamakan arti literal dari pada arti alegoris. Banyak hasil penelitian masih berlaku sampai sekarang karena sikap dasar dialog profetis ini. Umumnya para ekseget modern menafsir Alkitab menurut perspektif ini, sehingga penafsiran mereka memajukan ekumene, dan dialog antaragama. Salah satu inisiatif penting yang patut disebut Scriptural Reasoning yang digalakkan penafsir Yahudi, Kristen dan Islam. <b>Kata-kata kunci:</b>

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Ruskulis, Lilia, Inna Rodionova, and Rymma Maiboroda. "The symbol of «heart» in the linguophilosophical concept of H. Skovoroda." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 23 (2020): 211–17. http://dx.doi.org/10.34079/2226-3055-2020-13-23-211-217.

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The article examines the linguistic and philosophical research of H. Skovoroda – a symbolic perception and interpretation of the world around. It was found out that the thinker sought to allegorically interpret the Bible, which he perceived as the only reliable source of happiness, he believed that the world of the Bible is the ideal otherness of the human world (microcosmos) and the universe (macrocosmos). The authors of the article analyzed one of the brightest symbols of the linguist – the symbol of the heart, which is the basis of all human actions, bad and good thoughts, the place where thoughts and feelings are born and grow, where the truth opens, this symbol is the center of human moral actions, his inherent thinking and will.

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Zgraja, Brunon. "Zagadnienie wiary w nauczaniu kaznodziejskim św. Chromacjusza z Akwilei." Vox Patrum 61 (January 5, 2014): 467–78. http://dx.doi.org/10.31743/vp.3639.

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St. Chromatius, bishop of Aquileia, who lived at the turn of the IV and V century, as a zealous pastor, led by concern for the salvation of his faithful, undertook in his predicatory teaching an explanation of the queations of faith. Without indications of any polemics – as one might expect – with the Arianism which was spread through the Gothic invaders, he did it, not ignoring however the important doctrinal aspect which constitutes the basis of the act of faith. He teaches, that to believe means to walk incessantly the Christ’s way of righteousness, know thanks to the proclaimed Gospel. Receiving the holy baptism is the beginning of that way. In a simple, but interesting at the same time, preaching being not infrequently the fruit of an allegorical, often amazing interpretation of the Bible events and signs know to his listeners, the bishop of Aquileia furthermore encourages to fidelity to the chosen way of righteousness, making his listeners aware that walking this way means not only walking a way that is free from wrongdoing, which brings concrete fruits, of which the most valuable is the eternal salvation. Being aware of many menaces in spiritual life, he also warns in his sermons against the danger of losing the faith.

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Hryhorchuk, Yuliia. "Emma Andievska’s Philosophical Tales and Fables by Hryhorii Skovoroda: Textual Dialogs." Слово і Час, no. 10 (October 16, 2019): 14–21. http://dx.doi.org/10.33608/0236-1477.2019.10.14-21.

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The paper compares Hryhorii Skovoroda’s fables and Emma Andiievska’s tales. These works proved to be thematically and stylistically related. They reﬂ ect the dominant literary features of both authors, such as philosophical, didactic, symbolic, and aphoristic accents. The analysis is focused on the collections “Fables of Kharkіv” and “Tales” (30 and 18 texts respectively). The researcher explores the similarity of the works within their plots, ideas, and stylistics. Both fables and fairy tales show dialectical understanding of the antagonism hidden in the visible and invisible facets of the human life and world. Friendship, creativity, and courage of being oneself are common topics for these texts, where they are interpreted in the light of cordocentric philosophy and by means of the allegorical language of symbols. Despite the similarity of motives, the works by Emma Andiievskа keep considerable originality in content. She elaborates the themes of good and evil, faith, hope, and freedom, while Hryhorii Skovoroda is focused on the symbolic understanding of the Bible. The similar features urge to relate the writers’ texts at the stylistic level as well. A dialogue, a parable, a moral conclusion are inherent both in the fables and fairy tales. In addition, the works may be related due to the form of expression, the allegories, the symbolic imagery, and common prototext. The fairy tales by Andiievska, like the fables by Skovoroda, are rooted both in the folklore and the Bible. However, while the fairy tales reveal the prototext mainly through the interpretation of the plots, in the fables it is reﬂected at the lexical level. The compared works also have an extensive system of aphorisms (the folk and the authors’ ones), which reﬂect their main ideas.

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Hutchison, Jane Campbell. "Peter Glum. The Key to Bosch's “Garden of Earthly Delights” Found in Allegorical Bible Interpretation. 2 vols. Tokyo: Chuo-Koron Bijutsu Shuppan, 2007. 768 pp. index. append. illus. $341. ISBN: 978–4–8055–0545–8." Renaissance Quarterly 61, no. 3 (2008): 964–65. http://dx.doi.org/10.1353/ren.0.0223.

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19

Tembay, Aris Elisa. "Ekspository Preaching: Jawaban Terhadap Kebutuhan Sistem Berkhotbah Masa Kini." SCRIPTA: Jurnal Teologi dan Pelayanan Kontekstual 2, no. 2 (November 28, 2016): 1–20. http://dx.doi.org/10.47154/scripta.v2i2.23.

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Dalam ilmu Homeletika, dikenal ada tiga jenis khotbah; yakni khotbah Topikal, Tekstual, dan Ekspositori. Dibandingkan dengan dua jenis khotbah yang lain, ekspositori memiliki ciri-ciri dan kelebihan tersendiri, oleh karena pengkhotbah sangat terikat dengan teks yang dikhotbahkan dan teks tersebut harus merupakan teks yang lengkap seperti satu perikop. Sesuai dengan namanya “Ekspositori” adalah memberitakan atau mengekspos kebenaran Firman Allah dalam satu rangkaian yang terdiri dari tema, pokok-pokok besar dan kecil yang kesemuannya bersumber dari teks. Sehingga menolong pengkhotbah untuk jauh dari penafsiran alegoris, karena seluruh khotbah terdiri dari suatu penjelasan terperinci tentang satu bagian tertentu dari Alkitab dan nats Alkitab itu terjalin dalam seluruh uraian. Khotbah ekspositori menolong jemaat atau pendengar untuk mudah mengerti maksud dan tujuan Firman Tuhan, karena yang diberitakan bukan ide pengkhotbah tetapi murni penguraian dari teks yang dibacakan. Di samping itu sistematika ekspositori yang menguraikan pokok-pokok besar dan kecil bersumber dari tema yang berasal dari teks, memudahkan pendengar untuk mengerti bahkan mengingat Firman Tuhan yang diberitakan. Oleh sebab itu khotbah ekspositori adalah jawaban bagi tantangan pemberitaan Firman Tuhan masa kini. In Homiletics, there are three types of preaching known; namely Topical, Textual, and Expository sermons. Compared with the other two types of preaching, the expository has its own characteristics and advantages, because the preacher is very bound to the text being preached and the text must be a complete text like a passage. In accordance with its name "Expository" is to preach or expose the truth of God's Word in a series consisting of themes, big and small points whose findings are sourced from the text. So it helps the preacher to be far from allegorical interpretation, because the entire sermon consists of a detailed explanation of one particular part of the Bible and the scriptures are intertwined in the entire description. Expository preaching helps the congregation or listener to easily understand the purpose and purpose of God's Word, because what is preached is not the preacher's idea but purely a decomposition of the text read. In addition, expository systematics that outlines the major and minor points of origin comes from themes originating from the text, making it easy for listeners to understand and even remember the Word of God preached. Therefore expository preaching is the answer to the challenges of preaching God's Word today.

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Mavani, Hamid. "Domestic Violence and the Islamic Tradition." American Journal of Islam and Society 32, no. 2 (April 1, 2015): 130–33. http://dx.doi.org/10.35632/ajis.v32i2.981.

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The polyvalent Qur’anic text lends itself to multiple interpretations, dependingupon one’s presuppositions and premises. In fact, Q. 3:7 distinguishesbetween muḥkam (explicit, categorical) and mutashābih (metaphorical, allegorical,symbolic) verses. As such, this device provides a way for reinterpretingverses that outwardly appear to be problematic – be it in the area ofgender equality, minority rights, religious freedom, or war. However, manyof the verses dealing with legal provisions in such areas as devotional matters,marriage, divorce, child custody, inheritance and bequest, and specific punishmentsappear to be unequivocal, categorical, and explicit. As such, scholarshave devised certain hermeneutical strategies to situate and contextualizethese verses in a particular socio-historical context, as well as to emphasizethat they were in conversation with the society to which the Qur’an was revealedand thereby underlining the “performative” (p.15) nature of the relationshipbetween the Qur’an and the society.No verse is more problematic, in the sense that it offends contemporarysensibilities and is quite difficult to reconcile with an egalitarian worldviewwhen dealing with gender issues, than Q. 4:34, which allows the husband todiscipline his wife if he deems her guilty of nushūz (e.g., disobedience, intransigence,sexual lewdness, aloofness, dislike or hatred of himself). AyeshaChaudhry undertakes a study of this challenging verse by engaging the corpusof literature in Arabic from the classical period to the seventeenth century; shealso includes Urdu and English sources for the post-colonial period.She starts off by relating her personal journey from a state of discomfortand puzzlement when she first came across this verse in middle school to adefensive posture in trying to convince herself by invoking the Prophet’scompassion toward his wives and in cherishing the idea that the Qur’an gavemore rights to women than either the Hebrew Bible or the New Testament.She began a more rigorous and nuanced study of this verse after equippingherself with the necessary academic tools and analytic skills during her universitystudies. Frustrated with the shallow responses and the scholars’ circumspectionas regards any creative and novel reading of the verse for fearof losing their status in the community, she decided to do so herself with thehope of discovering views that would promote an egalitarian reading ...

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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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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 (December 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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Piehler, Paul. "The Rehabilitation of Prophecy: On Dante's Three Beasts." Florilegium 7, no. 1 (January 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 (April 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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Rios, César Motta. "O que vês? / O que lês?: imagináveis aproximações entre Fílon e Zacarias." Nuntius Antiquus 3 (June 30, 2009): 85–95. http://dx.doi.org/10.17851/1983-3636.3..85-95.

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In this note, I propose a discussion based on the possibility of comparison between the Philo of Alexandria's allegorical interpretation, and the one used in Zechariah’s book. By using selected examples, in which I have found similarities and dissimilarities between both authors, I aim to demonstrate that the semiotic difference of the object read in the prophet's text must be taken into account when compared to Philo's “textual” allegorical interpretation. At the end, I try to expose a reflection on the tradition of allegorical readers (or readings) and the place of Zechariah's text in it.

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Thompson, Professor Thomas L. "THE POLITICS OF READING THE BIBLE IN ISRAEL." Holy Land Studies 7, no. 1 (May 2008): 1–15. http://dx.doi.org/10.3366/e1474947508000048.

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The biblical themes of exile, return, the blossoming of the desert and the promise of the land have been transformed to support Zionist nationalist policies of ethnic cleansing. Biblical and archaeological scholarship, itself, has contributed substantially to the de-Arabicisation of Palestinian toponymy, the understanding of the Bible's allegorical narratives as nationalist epic and an ethno-centric understanding of Palestine's ancient history.

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Burdon, Christopher. "The Fathers and the Birds: Allegorical Reading of the Bible." Theology 98, no. 792 (November 1996): 443–52. http://dx.doi.org/10.1177/0040571x9609800605.

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Wdowiak, Magdalena. "Allegorical Interpretation and Place of Myth in Plato." Classica Cracoviensia 20 (March 30, 2018): 213–26. http://dx.doi.org/10.12797/cc.20.2017.20.11.

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The paper raises the issue of allegorical interpretation, and its role and place in Plato’s philosophy. The first part of the paper shows the theoretical findings and explains the use of terms aίnigma, sýmbolon, hypónoia in Plato’s philosophy. The next part explores Plato’s attitude toward allegorical interpretation and the function of myth (mūthos) in his philosophy. Two important points are presented here regarding Plato’s critique. They serve as the criterion for the validation of myth in the ideal state: the role of myth in paideia and its relation to philosophical discourse.

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Rios, César Motta. "O que vês? / O que lês?: imagináveis aproximações entre Fílon e Zacarias." Nuntius Antiquus 3 (June 30, 2009): 85. http://dx.doi.org/10.17851/1983-3636.3.0.85-95.

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<p>In this note, I propose a discussion based on the possibility of comparison between the Philo of Alexandria's allegorical interpretation, and the one used in Zechariah’s book. By using selected examples, in which I have found similarities and dissimilarities between both authors, I aim to demonstrate that the semiotic difference of the object read in the prophet's text must be taken into account when compared to Philo's “textual” allegorical interpretation. At the end, I try to expose a reflection on the tradition of allegorical readers (or readings) and the place of Zechariah's text in it.</p>

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Vermes, Geza. "Interpretation of the Bible." Journal of Jewish Studies 51, no. 1 (April 1, 2000): 152. http://dx.doi.org/10.18647/2251/jjs-2000.

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Vítek, Tomáš. "Allegorical Dreams in Antiquity: Their Character and Interpretation." Wiener Studien 130 (2017): 127–52. http://dx.doi.org/10.1553/wst130s127.

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Quinsland, Kirk. "Antitheatricalism and the Interpretation of Tudor Allegorical Performance." SEL Studies in English Literature 1500-1900 55, no. 2 (2015): 365–89. http://dx.doi.org/10.1353/sel.2015.0011.

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YEARSLEY, D. "TOWARDS AN ALLEGORICAL INTERPRETATION OF BUXTEHUDE'S FUNERARY COUNTERPOINTS." Music and Letters 80, no. 2 (May 1, 1999): 183–206. http://dx.doi.org/10.1093/ml/80.2.183.

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Matkovska, Ivanna. "Allegorical works of Zenovij Flinta and their interpretation." Ethnology Notebooks 150, no. 6 (December 22, 2019): 1684–91. http://dx.doi.org/10.15407/nz2019.06.1684.

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Ullen, Magnus. "Dante in Paradise: The End of Allegorical Interpretation." New Literary History 32, no. 1 (2001): 177–97. http://dx.doi.org/10.1353/nlh.2001.0010.

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Wood, Diana. "… novo sensu sacram adulterare Scripturam: Clement VI and the Political use of the Bible." Studies in Church History. Subsidia 4 (1985): 237–49. http://dx.doi.org/10.1017/s0143045900003653.

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Medieval biblical commentators traditionally interpreted the Bible in terms of the ‘four senses’ of Scripture—the literal-historical and the three ‘spiritual’ senses, the allegorical, the tropological or moral, and the anagogical. Recently attention has been focused on the use of a variation of the allegorical sense, namely, political allegory. This was the application of a biblical text to a current political situation or argument. The Roman revolutionary Cola di Rienzo, after hearing Pope Clement VI preach in consistory, gave it another name altogether—sensum adulterum. Clement had apparently delivered the customary papal allegorization of the two-swords passage (Luke, xix. 38), according to which both swords, that of spiritual authority and of physical power, were in the hands of the priesthood.

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정중호. "The Chinese Character Bible Period and the Bible Interpretation." THEOLOGICAL THOUGHT ll, no. 165 (June 2014): 91–126. http://dx.doi.org/10.35858/sinhak.2014..165.002.

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Domaradzki, Mikolaj. "THEAGENES OF RHEGIUM AND THE RISE OF ALLEGORICAL INTERPRETATION." Elenchos 32, no. 2 (June 1, 2011): 205–28. http://dx.doi.org/10.1515/elen-2011-320202.

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Hoogerwerf, Cornelis. "Historische versus allegorische uitleg in de inleiding van Išo‘dad van Mervs commentaar op de Psalmen : Vertaling en bronkritische analyse1." NTT Journal for Theology and the Study of Religion 73, no. 4 (November 1, 2019): 283–97. http://dx.doi.org/10.5117/ntt2019.4.002.hoog.

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Abstract The introduction to the ninth-century commentary on the Psalms by Išo‘dad of Merv contains a chapter on historical versus allegorical explanation. The first half of this chapter is about Origen and the Greek origin of allegorical explanation. The second half shows the inadequacy of allegorical explanation on the basis of Paul’s interpretation of the rock in the desert as Christ (1 Cor. 10:4). This article contains a Dutch translation and an analysis in which the possible sources of Išo‘dad’s text are discussed with special attention to the work of Theodore of Mopsuestia.

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Brown, Angela. "The Bible Interpretation Through Poetry." JOURNAL OF ADVANCES IN LINGUISTICS 3, no. 3 (April 5, 2014): 240–43. http://dx.doi.org/10.24297/jal.v3i3.5214.

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I have composed an educational plan used to improve reading interpretation and writing catharsis of the Bible. Upon studying the theory of the inequity of justice practice within my moral faith, I wanted to express my feelings of the Church through a poem. I felt I owed it to God to provide a positive reflection of my faith to others so they could relate to the Bible and understand my position of faith. Faith is a measurement of time utilized to explicate meaning.

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Spilsbury, Paul, and Louis H. Feldman. "Josephus's Interpretation of the Bible." Journal of Biblical Literature 119, no. 1 (2000): 126. http://dx.doi.org/10.2307/3267981.

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Franxman, Thomas W., and Louis H. Feldman. "Josephus's Interpretation of the Bible." Jewish Quarterly Review 91, no. 1/2 (July 2000): 214. http://dx.doi.org/10.2307/1454795.

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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, no. 1 (April 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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Lind, Sarah E. "Review: Interpretation of the Bible. Interpretation der Bibel. Interprétation de la Bible. Interpretacija Svetega Pisma." Bible Translator 50, no. 3 (July 1999): 353–54. http://dx.doi.org/10.1177/026009359905000309.

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Lanzinger, Daniel. "„Der Felsen aber war Christus“ (1 Kor 10,4)." Biblische Zeitschrift 62, no. 1 (March 31, 2018): 63–79. http://dx.doi.org/10.30965/25890468-06201003.

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This article examines Paul’s enigmatic statement that “the rock was Christ” (1 Cor 10:4) from the perspective of ancient understandings and habits of allegorical interpretation. Paul’s use of the exodus story can be addressed as an exemplum type of allegory, as described by Quintilian and applied for exegetical purposes by Heraclitus and Philo. In contrast to previous scholarship, it is shown that the employment of different tenses in allegorical formulas is a matter of style rather than of content so that Paul’s use of ἦν instead ἐστίν does not contradict the fact that it is meant to designate the allegorical sense of the term “rock”.

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Honegger, Thomas. "The Legacy of the Bestiaries in Chaucer and Henryson." Reinardus / Yearbook of the International Reynard Society 12 (September 15, 1999): 45–65. http://dx.doi.org/10.1075/rein.12.05hon.

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Abstract The influence of bestiaries on Chaucer and Henryson is not an obvious one. Thus, Chaucer avoids explicit allegorizations and merely hints at the allegorical dimension of his animals. Yet, he makes use of the ready symbolism of (bestiary) animals in his similes and characterizations of protagonists. Henryson, on the other hand, applies the technique of allegorical interpretation of animals - a typical feature of the bestiaries -to the protagonists of his Aesopic and Reynardian fables.

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Вевюрко, Илья Сергеевич. "Allegorical Interpretation of the Holy Scripture in Qumran Scrolls' Pesharim." Библия и христианская древность, no. 1(1) (February 15, 2019): 163–84. http://dx.doi.org/10.31802/2658-4476-2019-1-1-163-184.

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Данная статья посвящена проблеме аллегорезы как способа интерпретации Священного Писания кумранитами. Несмотря на то, что аллегорический метод интерпретации считается визитной карточкой александрийской школы с её ярко выраженным эллинистическим субстратом, мы можем заметить, что кумранская литература, возникшая главным образом в контексте эсхатологического прочтения пророческих книг, активно использует его в своих пешарим. Первоначально аллегорический метод толкования становится актуальным при условии, что все другие виды интерпретации не дают ожидаемого автором результата. Аллегорезу отличает жёсткая внутренняя логика, применяемая автором для извлечения более глубоких аспектов рассматриваемого текста. Аллегореза пешарим, опираясь на библейские аллюзии, а также цепочки смежных смыслов, ставит целью раскрытие символического содержания пророческих книг, актуализируя их в современной толкователю ситуации. При этом кумранские экзегеты используют герменевтические ходы, встречающиеся в Священном Писании (особенно в Новом Завете), что делает их тексты ценными для понимания внутренней библейской герменевтики в её первоначальном контексте. The article deals with a problem of allegoresis as a means of interpretation of the Scriptura Sacra in Qumran. Though an allegorical method is considered to be the hallmark of the Alexandrian school with its pronounced Hellenistic substrate, we can see that Qumran literature, which arose mainly in the context of eschatological reading of prophetic books, actively uses it in the pesharim. Initially, the allegorical method of interpretation becomes relevant provided that all other types of interpretation do not work as be expected by the author. Allegoresis is marked by a strong inner logic, used by the author for extracting of the more deep aspects of the text. Based on biblical allusions, as well as the chain of interchangeable related meanings, the allegoresis of pesharim sets its goal in revealing of the symbolic content of prophetic books, actualizing them in the modern interpreter’s situation. At the same time, Qumran exegetes use hermeneutical ways present in the Holy Scripture (especially in the New Testament), which makes their texts valuable for understanding the internal biblical hermeneutics in its original context.

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Sarangaeva, Z. N. "ALLEGORICAL INTERPRETATION OF RELATION IN KALMYK, RUSSIAN AND ENGLISH PAROEMIA." Tomsk state pedagogical university bulletin, no. 6 (2017): 123–27. http://dx.doi.org/10.23951/1609-624x-2017-6-123-127.

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Zashliapin, Boris. "“Throne of Claudius”: on Interpretation of Allegorical Relief from Cerveteri." Actual Problems of Theory and History of Art 5 (2015): 94–106. http://dx.doi.org/10.18688/aa155-1-9.

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