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Journal articles on the topic 'Allegorical journey'
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Semenova, Anastasia V. "ALLEGORICAL TRAVELS OF THE KIEVAN PRINCE IN THE POEM “VLADIMIR” BY M. M. KHERASKOV." World of Russian-speaking Countries 6, no. 4 (2020): 63–74. http://dx.doi.org/10.20323/2658-7866-2020-4-6-63-74.
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The article examines several episodes of the poem “Vladimir” by M. M. Kheraskov, highlights and analyzes two allegorical journeys of the main character. By means of allegories, the work implements the author's didactic tasks – to instruct readers on the path of virtue on the example of the character's adventures. Vladimir's wanderings take place in a fantastic space and are aimed at spiritual rebirth and salvation of the soul. The vices and temptations of the Kievan Prince appear personified before him and try to turn the hero away from receiving baptism, discredit or distort the Christian faith. The first allegorical journey corresponds to the initial stage of the inner transformation of the character, the second coincides with the final one. Going to the abode of the righteous, Vladimir finds himself in darkness and fog, symbolizing his spiritual blindness, doubts and delusions, faces monstersvices under beautiful disguises, but with the help of a magic object – the flame of faith, presented by the wise mentor Idolem – fights with them and wins. On the way to the temple in the last song of the poem, Vladimir is again stopped and confused by pagans and embodied temptations, but the hero independently distinguishes between good and evil, truth and lies. As a result, the Kievan Prince makes the right choice, overthrows opponents and reaches the goal – the true temple where he receives baptism. Vladimir's twice-completed journey reflects the metamorphosis taking place with the hero. At the same time, allegorical journeys create the fantastic background necessary for the epic, replacing the mythological component. The magical adventures of Vladimir make the plot of the poem more fascinating, illustrate the moral quest of the Kievan Prince, thus allowing you to unobtrusively educate readers without boring teachings.
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Dooley, Kevin L. "De Tocqueville's Allegorical Journey: Equality, Individualism, and the Spread of American Values." Journal of American Culture 37, no. 2 (2014): 172–81. http://dx.doi.org/10.1111/jacc.12161.
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Wenbin, Peng. "Allegorising the Local on the Borderland: Ai Wu's Nanxingji and National Subjectivity." Inner Asia 4, no. 1 (2002): 47–79. http://dx.doi.org/10.1163/146481702793647579.
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AbstractThis paper offers a reading of Ai Wu's Nanxingji series (Trilogy of Travel Through the South) depicting the author's journey from Yunnan to Burma in the May Fourth era and his subsequent returns to the border regions of Yunnan in the socialist period. It explores the ways in which allegorical dimensions of ‘the local’ shift at different social-historical junctures: ‘the local’ as a site in need of reforms in the 1920s, in socialist reality in the early 1960s, and in traumatic memories of the Cultural Revolution in the early 1980s. In extrapolating these ‘local’ dimensions embedded in the Nanxingji series, this paper suggests a contingent rather than a causal relationship between national incorporation and ‘the local’ formations. Additionally, this paper highlights how travel operates as an allegorical device, linking ‘the personal’ to the interplay of local specificities and the national imaginary, and how travel styles themselves change over time.
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Gibbs, Raymond W., and Natalia Blackwell. "Climbing the ladder to literary Heaven." Scientific Study of Literature 2, no. 2 (2012): 199–217. http://dx.doi.org/10.1075/ssol.2.2.02gib.
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This study examined university students’ interpretations of a passage from the novel “The Anthologist” that notably described a poet’s career as his clinging onto an infinitely tall ladder leading up into the blinding blue. Understanding this excerpt requires readers to engage in “metaphor processing” where one applies a metaphoric reading to some instance of language or a situation to obtain allegorical meaning, as opposed to “processing metaphor” in which individual words and phrases are given metaphoric meaning. Students’ interpretations of both the individual segments and the entire text revealed significant allegorical abilities, many of which we centered on their elaboration of the common metaphorical theme LIFE IS A JOURNEY. But participants also clearly created textured, personal readings of fictional texts that gave each interpretive act it own unique, creative flavor. Although this study focused on the “products” of people’s interpretation for allegory, we speculate on the cognitive “processes” required for readers to produce their rich, detailed understandings of allegory in fiction.
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Norozi, Nahid. "The Verse Romance Homāy o Homāyūn of Ḫwājū Kermānī: a “Love and Adventure Story” or an Allegory of a Spiritual Quest?" Eurasian Studies 17, № 1 (2019): 23–48. http://dx.doi.org/10.1163/24685623-12340062.
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Abstract This study, after a summary of the verse romance Homāy o Homāyūn by the medieval Persian poet Ḫwājū Kermānī (14th c.), focuses on its rich semantic stratification and casts doubt on its usual classification as a mere “story of love and adventure”. In particular, this analysis attempts to highlight the numerous and consistent “signals” disseminated by Ḫwājū in his work that deliberately intend to direct the reader to a markedly spiritual perspective in which the hero’s journey in search of his beloved becomes an allegorical spiritual quest.
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Pree, Nathanael. "Contagion and Confinement." Journal of World Literature 7, no. 2 (2022): 167–83. http://dx.doi.org/10.1163/24056480-00702004.
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Abstract This article takes two epidemics, one historical and the other allegorical, for comparison against the current Covid-19 crisis. Daniel Defoe’s A Journal of the Plague Year consists of a narrator whose objectivity and existence are ambiguous. José Saramago’s Blindness, published in the original Portuguese as an “essay,” traces the journey of a cluster of citizens through a polis afflicted by a sudden, infectious outbreak. The respective experiences of confinement: at home, in a disused mental hospital, and within the wider spaces of the city, are analysed in this article with reference to Michel Foucault’s Madness and Civilization, alongside seminal works by Giorgio Agamben, Michel de Certeau and Susan Sontag. The article also aims to indicate how the current Covid-19 crisis may provide a scene of reading, alongside a contemporary response from Slavoj Žižek.
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Young, Elijah. "The Internal Journey Toward Spiritual Self-Recognition in Shūsaku Endō’s Silence." Film Matters 13, no. 1 (2022): 164–66. http://dx.doi.org/10.1386/fm_00213_7.
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This article will plot and examine the spiritual progression of protagonist Sebastiao Rodrigues from “blind faith” to a fuller awareness of his spiritual self. Endo’s narratives will be seen to eschew allegorical readings in favor of presenting the importance of the spiritual journey for the individual. In the face of extreme violence, Rodrigues will be seen to develop from a position of aspiration toward honorable martyrdom to one of disillusion and disconnection from institutions that obfuscate the clarity of his personal relationship with Christ. The conclusion Endo will be seen to arrive at is that this is the true potential of a spiritual life, that the individual might find affirmation of their own belief in spite of persecution and judicial torture.
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Luttrull, Daniel. "Mammon and God." Christianity & Literature 66, no. 4 (2017): 675–90. http://dx.doi.org/10.1177/0148333116685882.
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In “The Artificial Nigger,” Flannery O’Connor provides directions for the reader to precisely follow her characters’ circuitous route from the city center to the suburban train station where they end their journey. While the Heads find themselves in three of the city’s shopping centers, O’Connor is careful to keep them from coming within sight of any of the city’s churches. O’Connor uses this commercialized Atlanta to examines the claim that commerce can make people “too busy to hate.” She then moves into an allegorical register in which the market represents judgement and the Heads experience grace only after leaving it.
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Bardski, Krzysztof. "Symbolism of God’s Protection over the Chosen People during the Journey to the Promised Land in Origen’s Homilies to Psalm 77 (78)." Collectanea Theologica 91, no. 4 (2021): 83–94. http://dx.doi.org/10.21697/ct.2021.91.4.03.
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The article analyzes selected literary motifs of Psalm 77, which were used by Origen to formulate more-than-literal interpretations. The methodology of research on the processes of creating allegorical and symbolic associations has been applied to the following literary motifs: the separation of the waters of the Red Sea, the cloud and the pillar of fire leading the Israelites through the wilderness, water from a rock, and manna from heaven.
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Bucker, Park. "The Chimes at Christmas." Thornton Wilder Journal 3, no. 1 (2022): 76–84. http://dx.doi.org/10.5325/thorntonwilderj.3.1.0076.
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Abstract Thornton Wilder’s 1931 one-act play The Long Christmas Dinner presents several challenges in staging. This article records the experiences of a student production— from early rehearsal through performance—mounted at the University of South Carolina Sumter. The production also included Wilder’s other 1931 one-act The Happy Journey to Trenton and Camden. The article describes how the production handled the allegorical portals of birth and death in The Long Christmas Dinner, and how the production endeavored to communicate the play’s compression of 150 years of family dinners into a thirty-minute performance. It describes the production’s innovative techniques which replicated the play’s sound effects and stage movement.
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Das, Arunava. "Rereading of Samuel Taylor Coleridge's Rime of the Ancient Mariner as an allegorical poem, a ballad with Ecocritical touch." International Journal of English Literature and Social Sciences 7, no. 5 (2022): 065–69. http://dx.doi.org/10.22161/ijels.75.11.
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In recent times many critics view Samuel Taylor Coleridge epoch-making work ‘The Rime of the Ancient Mariner’ from many different perspectives. This paper mainly tends to unify all major perspectives of critics in one single reading. 'The Rime of the Ancient Mariner' as a supernatural poem, a lyrical ballad, a Christian allegory of sin, sufferings and exploitation leading to spiritual elimination along with ecocritical conscious with which ‘The Rime of the Ancient Mariner’ recently associated by the Eco critics and environmentalist. Within the structural framework of seven parts, the poem is formally designed as a romantic lyrical ballad in which the basic ingredients of medieval gothic ballad tradition are satisfactory found how an adventurous journey change into a journey of sin and how the mariner harm the natural world and how he realises his sin and bent before God for forgiveness. The main motto of this paper is to discuss the above mention aspects of the poem which can give a new light to the poem as well as to bring forth the poetic genius of Coleridge.
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Masterson-Algar, Araceli. "The Subte as Looking Machine into the City." Transfers 4, no. 2 (2014): 68–85. http://dx.doi.org/10.3167/trans.2014.040206.
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Moebius (1996) is the first cinematographic production of the “Universidad del Cine” of Buenos Aires. It is the collective project of forty-five film students under the general direction of Gustavo Mosquera. The film narrates the mysterious disappearance of a subway train along the last addition to its underground network: the “línea perimetral.” In search for answers, a topologist named Daniel Pratt initiates an allegorical journey into Moebius, a subway trajectory that is timeless but includes all times. This article explores the role of Moebius' subway as a metaphor to understand the urban. Drawing from Buenos Aires' urban history this filmic analysis ties the Subte to Buenos Aires' processes of capital accumulation and unveils the fissures of its modern spaces.
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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.
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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.
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Draskóczy, Eszter. "„Nem vagyok sem Aeneas, sem Pál” – Dante túlvilágjárása és elődei I. Dante és Aeneas." Antikvitás & Reneszánsz, no. 4 (December 1, 2019): 61–87. http://dx.doi.org/10.14232/antikren.2019.4.61-87.
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During his voyage through Hell and Purgatory led by Virgil, Dante the Pilgrim’s initial fear and pusillanimity (“I am not Aeneas”) turns into a strong but unspoken claim (I am a new Aeneas), and this transformation is marked by a number of references and rephrases of the Aeneid. The core of the renewal is the Christian message that follows the interpretation of allegorical commentaries. However, Dante draws on several other traditions in his artistic competition with his predecessors. Thus, he invokes Aeneas’ experiences, including his deeds, his map of the Underworld, his encounters, his major virtues, his determination, and his role model, Orpheus. The symbolic journey of the Commedia is longer than Virgil’s path as it eventually creates the Pilgrim’s identity, based on Biblical and apocalyptical tradition as well as medieval visionary literature.
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Vasiliu, Daniela. "C. S. Lewis: The Romantic Rationalist." Linguaculture 2014, no. 2 (2014): 105–22. http://dx.doi.org/10.1515/lincu-2015-0031.
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Abstract The paper “C. S. Lewis: The Romantic Rationalist” presents the way C. S. Lewis gives an account in his first fictional (allegorical) book, The Pilgrim’s Regress, of how he discovered Christianity on the converging paths of romanticism and rationalism. The outstanding scholar and author whose intellectual and spiritual development has turned him into one of the most influential Christian writers of the twentieth century became an atheist in his teens and after a long journey through different philosophical convictions he converted to Christianity in his early thirties, a change that affected his entire work. His love of literature was essential in discovering both the rational and the imaginative appeal of Christianity, which led him into a vision of the reality of the world and of life that satisfied the longing of his heart and the hunger of his imagination.
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Mohammad, Sumaya Alhaj, and Dania Meryan. "Ghassan Kanafani’s Returning to Haifa: tracing memory beyond the rubble." Race & Class 61, no. 3 (2019): 65–77. http://dx.doi.org/10.1177/0306396819885248.
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This article argues that Ghassan Kanafani in his 1969 work Returning to Haifa portrays a new conception of home as a postcolonial site that transcends the physicality of geography to create a new collective fluid memory. Kanafani’s narrative explores the chasm between the imaginary or utopian territory that exists simply in the memory of the indigenous people, and the real site which exists geographically, and how this makes ethical representation of the traumatised subject virtually impossible/an impossibility. Kanafani’s allegorical journey of Returning to Haifa records the bruised memory of the Palestinian refugees, and reveals a desire to recreate a protean memory for this traumatised people so as to transform them from the state of victimhood to that of resistance. Hence, the three physical sites explored here: body, land and text are opened to the processes of becoming.
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Kovacheva, Eva. "The Journey from Egypt to the Promised Land, from the Baptism to becoming the Son of God and from the Earthly to the Heavenly Kingdom from the Point of View of Allegorical Interpretation." Filosofiya-Philosophy 31, no. 1 (2022): 73–80. http://dx.doi.org/10.53656/phil2022-01-07.
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The article discusses two historical events taken from texts from the Holy Scripture – the Old and the New Testaments, and a spiritual view on human soul, as found in the Holy tradition of the Orthodox church: they support the thesis that, according to the method of allegorical interpretation, the three evidences point to three inner stages through which human soul passes in its transition to a holistic spiritual development: from the act of the Holy Baptism to the entry into the Kingdom of God.
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Laureano Domínguez, Lorena. "Pericles’ "unknown travels": The dimensions of geography in Shakespeare’s Pericles." Sederi, no. 19 (2009): 73–99. http://dx.doi.org/10.34136/sederi.2009.4.
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The present essay explores the complex notion of geography and its manifold implications in Shakespeare’s first romance, Pericles. It will be argued that the role of geography and travelling in the play cannot be reduced to a mere formal strategy. In the play’s treatment and representation of geography, psychological, moral and political aspects intertwine. Thus Pericles can be understood simultaneously as an individual’s life journey, as a spiritual journey, and even as an exploration of different forms of government and power. Taking as a point of departure John Gillies’ concept of “geographic imagination” and Freud’s notion of “the uncanny,” I will focus on the psychological meaning and on the poetic and dramatic effectiveness of the author’s imaginative use of geography. Examination of the different locations demonstrates that, beyond their existence as specific external spaces, they are relevant as inner mental entities informing Pericles’ experience and acquiring meaning within the hero’s microcosm. With a special emphasis on the incest scene, it will be contended that in Pericles the geographical and the psychological fuse and that geographical locations work as different layers of the psyche. Geography will be analysed in relation to plot and characters, always taking into consideration its allegorical, psychological and poetic dimensions.
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Fee, Nancy H. "La Entrada Angelopolitana: Ritual and Myth in the Viceregal Entry in Puebla de Los Angeles." Americas 52, no. 3 (1996): 283–320. http://dx.doi.org/10.2307/1008003.
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The celebration of the entry of the viceroy was the most lavish, costly civic ritual in seventeenth-century Puebla de los Angeles. Staged by Puebla elites to honor the viceroy, this ritual event was orchestrated to assert and display the religiosity and superiority of Angelópolis (the literary title for Puebla). Invoking the journey of Hernán Cortés, the routing of the viceregal entry through Puebla prior to Mexico City heightened the competitive spirit of the Puebla Cabildo. The Puebla Cathedral, erected on the main plaza largely under the influence of Bishop Juan de Palafox y Mendoza from 1640-49, functioned as the centerpiece and scenographie backdrop of this civic spectacle. Ephemeral, triumphal arches featuring allegorical, political emblems framed and gated the ritual entry. Designed by members of the oldest builders’ guild in New Spain, some of these arches were placed within the main portal of the Cathedral marking its role as the sanctum sanctorum of the city.
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Awianowicz, Bartosz. "The Classical and Jesuit Erudition of Stefan Iavorskii in His Panegyrics to Varlaam Iasinskii." Philologia Classica 15, no. 2 (2020): 246–60. http://dx.doi.org/10.21638/spbu20.2020.205.
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This article offers an overview of the Greco-Latin and early modern Jesuit sources of Stefan Iavorskii’s (1658–1722) three bilingual panegyrics addressed to his patron Varlaam Iasinskii, rector of the Kiev-Mohyla college (1669–1689), the Orthodox metropolitan of Kiev (1690– 1707), Hercules post Atlantem infracto virtutum robore honorarium pondus sustinens published in Chernihiv in 1684, Arctos Caeli Rossiaci in Gentilitiis Syderibus and Pełnia nieubywaiącey chwały w herbowym xiężycu (The Plenitude of Inexhaustible Glory in the heraldic moon), published in Kiev in 1690 and 1691. Both these works are prosimetric bilinguals (some sections are in Latin, others in Polish), testifying to a significant classical erudition of their author. However, Hercules is one most traditionally “classical” in its dispositio and elocutio, while the style of the other two, written after Iavorskii’s educational journey through Jesuit schools in the Polish-Lithuanian Commonwealth, is much more innovative, highly metaphorical, allegorical, relying on the argumentation of surprise (based on acumen- and argutia-theory expounded in the rhetoric of Jan Kwiatkiwiecz) and emblems due to an extensive use of combinations of multiple pictorial-verbal themes (especially in Pełnia).
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Niehoff, Maren R. "A Roman Portrait of Abraham in Paul’s and Philo’s Later Exegesis." Novum Testamentum 63, no. 4 (2021): 452–76. http://dx.doi.org/10.1163/15685365-12341713.
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Abstract This article analyzes Bible exegesis as a key to understand the increasingly Roman orientation of Paul. Philo of Alexandria, Paul’s slightly older contemporary, is introduced as a point of comparison, as his move from the earlier Allegorical Commentary to the Life of Abraham clearly documents an intellectual journey towards Roman discourses, which is characteristic also of Paul. The argument is presented in three steps: initially the image of Abraham in Galatians is compared to that in Romans and the new discourse of exemplarity in the latter is highlighted. In the second section Philo’s image of Abraham is analyzed in its dramatic change from systematic Bible commentary to exemplary ethics. The third section deals with the Roman context. The latter is illuminated by looking at some passages in Philo’s later treatise Every Good Man is Free, which addresses Roman audiences on their own turf by discussing Greek and Roman heroes. It is shown that these Pagan portraits are animated by the same discourse of exemplarity as Philo’s and Paul’s Roman portrait of Abraham in their later exegesis. As the Pagan anecdotes have parallels in Roman literature, they provide a context for Paul’s and Philo’s exegesis in a Roman key.
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Green, Barbara. "Great Trek and Long Walk: Readings of a Biblical Symbol." Biblical Interpretation 7, no. 3 (1999): 272–300. http://dx.doi.org/10.1163/156851599x00029.
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AbstractDiverse South African readings of "the exodus" offer convenient access to the complex processes of "meaning-making" which are currently under scrutiny in many disciplines. This essay investigates several diverse appropriations of the biblical text in order to read the classic journey story-particularly the moment of encountering the Canaanites-and to sort some of the methodological issues. First, a pair of opposite versions: white South African (Boer) and black South African (represented by Archbishop Desmond Tutu); second, a triad of critical approaches, but with different emphases (historical-critical, text-centered, reader-focused); and third, my own construal of Nelson Mandela's autobiography, Long Walk to Freedom, as yet another appropriation of liberation texts. In each case, the valuable questions to ask are how the interpreter has proceded and what has been the result, both for the understanding of texts and for the methodological discussion. The allegorical approach (Boer and Tutu) seems totally inadequate. The scholarly critical readings, with their behind-, within-, and before-the-text emphases are illuminating. But Mandela's construal, or at least my version of it, offers additional and fresh insight into the dynamics of liberation.
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Almwajeh, Motasim. "Dialogical Dynamics and Subversions of Political and Ideological Boundaries in Chinua Achebe’s Anthills of the Savannah." International Journal of English Linguistics 9, no. 3 (2019): 126. http://dx.doi.org/10.5539/ijel.v9n3p126.
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This article examines the subtle allegorical political nuances and implications in Chinua Achebe’s Anthills of the Savannah (1987). The novel foregrounds and grapples with the problematics of voice, representation, and history where the more inclusive voice appears to be, the more suppressive and exclusive of other voices it is. Hence, the text enacts a journey toward a realm that rises above gender and class-based rigidities, fusing facets of Nigerian sociopolitical and environmental crises (in the past and present). The novel takes on multiple narratives that engender continuation and sharing vis-à-vis historical realities of political cleansing and ideologies and systems of exclusion. Counteracting condescendingly patronizing doctrines and reductive dichotomies, dialogism and ecofeminism pay equal attention to all parties and reject polarizations and divisions. A combination of these approaches precludes tantalization, and it also humanizes ecofeminism and gives it a wider scope. In principle, combined, these approaches guard against any rejectionist or exclusionary superstructures they seek to deconstruct. Ecofeminism, much like Bakhtinian dialogism in its quest for justice, hinges environmental degradation to gender-based, class-based, racist, and imperial variables, and it disrupts these ideologies and systems of oppression in order to assuage human and nonhuman conditions.
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Panczová, Helena. "Israel's Journey and Restoration of God's Image in Humans:An Analysis of Allegorical Exegesis in the Life of Moses II,256-304 by Gregory of Nyssa." Studia theologica 19, no. 3 (2017): 195–212. http://dx.doi.org/10.5507/sth.2017.041.
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Łapeta, Oskar. "The Ballets of Eugeniusz Morawski in the Context of the Search for Polish National Identity." Polski Rocznik Muzykologiczny 19, no. 1 (2021): 54–66. http://dx.doi.org/10.2478/prm-2021-0010.
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Abstract The topic of this article is Eugeniusz Morawski’s ballet music analysed in the context of the search for national identity in Poland after it regained independence in 1918. The author’s reflection is focused on two fully preserved ballet compositions written in the 1920s. In the monumental four-part dance poem Miłość [Love] by Morawski, together with the author of the libretto, Franciszek Siedlecki, presents an allegorical journey of the pair of protagonists in search of spiritual renewal in a world threatened by progressive mechanisation. Their pilgrimage ends on Earth, and Mazurka is the central point of the last part of the composition. The two-part ballet Świtezianka [Fair Maiden from Svitez], written by the composer to his own libretto, contains in the first part a group scene in which the composer stylizes Polish folk dances. Morawski uses in these works numerous archaizing elements, such as col legno articulation in the strings or empty fifths in the bass; he also uses a pentatonic scale and modal scales, these fragments are distinguished by incisive rhythms. The composer’s treatment of folk material brings to mind an analogy between his work and the works of composers regarded as representatives of the national-folkloric trend in Polish music: Karol Szymanowski, Stanisław Wiechowicz and Roman Palester. Similar tendencies can also be observed in numerous literary and art works created during the inter-war period. A return to folklore and combination of its elements with modern composing techniques can also be found in the works of the most ou-standing representatives of the avant-garde: Igor Stravinsky and Béla Bartók.
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Akcay, Nilufer. "The Goddess Athena as Symbol of Phronesis in Porphyry’s On the Cave of the Nymphs." International Journal of the Platonic Tradition 12, no. 1 (2018): 1–12. http://dx.doi.org/10.1163/18725473-12341394.
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AbstractOn the Cave of the Nymphs, an allegorical exegesis of Homer’s description of the cave of the nymphs at Odyssey 13.102-112, a passage quoted in full at the beginning of the treatise after the briefest possible indication of the project on which Porphyry is embarking, has been generally given little attention in discussions of Neoplatonic philosophy, as it is deemed to be of little importance for establishing Porphyrian doctrine. However, the treatise contains significant philosophical thoughts on the relationship between the soul and body, embodiment, demonology, and the concept of salvation of soul, which are compatible with his other works, especially On Abstinence from Killing Animals (De Abstinentia) and Pathways to the Intelligible (Sententiae). The concept of salvation of soul is found in Porphyry’s identification of the goddess Athena with phronesis, along with the olive tree, while Odysseus represents the soul descending into genesis, but will return back to his fatherland.In this context, this paper will explore the role and meaning of phronesis, namely the goddess Athena, in the process of the soul’s journey towards the intelligible realm and show the relevance of the Neoplatonic doctrine of virtues, particularly the cathartic virtues, in Sententia 32 to Porphyry’s reading of Homer’s image of Odysseus under guidance of the goddess Athena. Phronesis inspires the soul to incline towards the level of Intellect that is, away from damaging influences of the body to which the soul is enslaved and which confuses it with desires, passions, fears and illusory impressions, and prevents it from attaining the intelligible realm, whereas the body and its desires lead us to conflict and unjust behaviour in order to gain wealth, status, power, and pleasure.
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Talfani, Camilla. "Problèmes de stratigraphie linguistique dans le poème de Peire .W." Mot so razo 20 (January 25, 2022): 37. http://dx.doi.org/10.33115/udg_bib/msr.v20i0.22746.
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<p>RÉSUMÉ: L’article propose une nouvelle analyse linguistique d’un texte narratif en ancien occitan, qui est transmis par le seul chansonnier des troubadours <em>R</em> (Paris, BnF, fr. 22543). Le poème, dont l’unique témoin manuscrit conservé manifeste l’absence de rubrique attributive et quelques lacunes, consiste dans le récit d’un voyage allégorique par son auteur protagoniste, qui, dans les dialogues, est appelé Peire .W. Nous avons examiné en particulier, du point de vue de la stratigraphie linguistique, l’émergence d’au moins deux couches linguistiques différentes, qu’il est possible de détecter et de distinguer à partir de la coexistence, dans le texte, de traits linguistiques incompatibles avec une même aire géographique. On peut vraisemblablement attribuer une de ces couches à l’auteur lui-même, tandis que les autres éléments linguistiques sont à assigner aux scribes responsables de la tradition manuscrite de l’oeuvre.</p><p> </p><p>ABSTRACT: The article proposes a new linguistic analysis of a narrative text in Old Occitan, that is transmitted only by the troubadour chansonnier <em>R</em> (Paris, BnF, fr. 22543). The text, that in the manuscript witness shows the lack of the rubric and some gaps, tells of an allegorical journey narrated by its author-protagonist who, in the dialogues, is called Peire .W. Specifically, the research focuses, from the perspective of linguistic stratigraphy, on the emergence of at least two different linguistic levels, that we can distinguish thanks to the coexistence of linguistic elements incompatibles with a same geographical area. One of these linguistic layers seems attributable to the author himself, whereas the other linguistic elements depend on the scribes responsible for the tradition of the text.</p>
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Lingwood, Chad G. "The Conference of the Birds." American Journal of Islam and Society 22, no. 3 (2005): 145–47. http://dx.doi.org/10.35632/ajis.v22i3.1691.
Full textAbstract:
In medieval Islamic civilization, poetry was widely acknowledged to be themost intimate vessel for conveying Sufism’s hidden truths. The spiritualstates and stations traversed by adepts along an ascending path to the realityof God’s unity largely defies simple descriptions into ordinary prose oreveryday language. The subtleties necessary to evocatively describe a spiritualjourney that is, by its very essence, ineffable, necessitates a linguisticmedium that could at once reveal secrets of inner contemplation and mysticalperception while simultaneously concealing such information from the“uninitiated” behind the exoteric understanding of the same work of literature.Persian poetry, with its unique capacity for metaphorical symbolism,puns, and paradoxes, thus emerged by the seventh/thirteenth century as anunparalleled vehicle for expressing the mystical experience.The most dramatic expression in all of Persian mystical literature of thisspiritual journey is the allegorical poem Mantiq al-Tair (best translated as“The Speech of the Birds”) by Farid al-Din `Attar (d. 627/1229), whichrecounts the initiatory voyage of a group of birds through seven valleys tothe palace of the mythical king-bird Simurgh, symbol of the Divine,enthroned atop the cosmic mountain Qaf.In addition to the book currently under review, `Attar’s masterpieceinspired other renditions into English, including an abbreviated and freelyreworked edition by Edward FitzGerald, The Bird-parliament (1903); R. P.Masani’s prose translation of half the original poem’s 4,600 lines, TheConference of the Birds (1924); the incomplete prose version by C. S. Nott,The Conference of the Birds (1954), which was prepared from Garcin deTassy’s nineteenth-century French translation, Le Langage des oiseaux, and,as such, is obscured by an intervening third language; Afkham Darbandi andDick Davis’ Penguin Classics edition The Conference of the Birds (1984),which represents the poem’s first complete English translation (minus theinvocation and epilogue), is based on the oldest extant manuscripts, and isskillfully rendered into heroic couplets pleasingly faithful to the letter andspirit of `Attar’s allegory; and Peter Avery’s determinedly literal translation,The Speech of the Birds (1998), whose 560-page opus includes 120 pages ofenriching endnotes on `Attar’s use of Qur’anic imagery and the hadith ...
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Mavani, Hamid. "Domestic Violence and the Islamic Tradition." American Journal of Islam and Society 32, no. 2 (2015): 130–33. http://dx.doi.org/10.35632/ajis.v32i2.2982.
Full textAbstract:
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. But ...
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Mavani, Hamid. "Domestic Violence and the Islamic Tradition." American Journal of Islam and Society 32, no. 2 (2015): 130–33. http://dx.doi.org/10.35632/ajis.v32i2.981.
Full textAbstract:
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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Wong, Jack. "Remapping the Constellation of Walter Benjamin’s Allegorical Method." American, British and Canadian Studies Journal 25, no. 1 (2015): 37–59. http://dx.doi.org/10.1515/abcsj-2015-0007.
Full textAbstract:
Abstract The now-longstanding academic revival of allegory, as well as its import as a perennial buzzword of contemporary art criticism, owes much to a group of essays published in the journal October in the early 1980s. Authors Craig Owens and Benjamin Buchloh, in turn, drew a bloodline to the ideas of allegory that occupied Walter Benjamin throughout his literary career. However, whereas Benjamin saw allegory as the expression of a radical, indeed messianic, view of political possibility, the October writers found in allegory a counter-paradigm against Modernism that would resist the latter's totalizing tendencies by pursing its own deconstructive fate of “lack of transcendence.” In the following essay, I trace the source of this discrepancy to the crucial theological underpinnings of Benjamin's concept of allegory, without which the allegorical forms - appropriation and montage - produce not miraculous flashes of unmediated recognition but the permanent impossibility of communication.
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Hassoon, Mohammed Naser. "Epidemic as Metaphor: the Allegorical Significance of Epidemic Accounts in Literature." Studia Universitatis Babeș-Bolyai Philologia 66, no. 3 (2021): 201–18. http://dx.doi.org/10.24193/subbphilo.2021.3.13.
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"Epidemic as Metaphor: The Allegorical Significance of Epidemic Accounts in Literature. Our paper searches for those common elements in selected literary representations of the plagues that have affected humanity. As a theoretical framework for our research, we have considered the contributions of Peta Michell, who equals pandemic with contagion and sees it as a metaphor; Susan Sontag views illness as a punishment or a sign, the subject of a metaphorization. Christa Jansohn sees the pest as a metaphor for an extreme form of collective calamity. For René Girard, the medical plague is a metaphor for the social plague, and Gilles Deleuze thinks that fabulation is a “health enterprise.” From the vast library of the pandemic, we have selected examples from Antiquity to the 19th century: Thucydides, Lucretius, Boccaccio, Daniel Defoe, Mary Shelley, Edgar Allan Poe, and Jack London. For Camus, the plague is an allegory of evil, oppression and war. Our paper explores the lessons learned from these texts, irrespective of their degree of factuality or fictionality, pointing out how the plague is used metaphorically and allegorically to reveal a more profound truth about different societies and humanity. Keywords: epidemic, plague, The Decameron (Boccaccio), A Journal of the Plague Year (Daniel Defoe), King Pest (Edgar Allan Poe), The Last Man (Mary Shelley), The Nature of Things (Lucretius), The Plague (Albert Camus), The Scarlet Plague (Jack London), The War of the Peloponnesians (Thucydides) "
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Trehubov, D. H., and І. М. Trehubova. "Initiation elements of the folklore plot “procurement of a girl”." Culture of Ukraine, no. 76 (June 29, 2022): 57–63. http://dx.doi.org/10.31516/2410-5325.076.06.
Full textAbstract:
The topicality of the research is determined by the need for a deeper understanding of the Ukrainian people’s worldview based on the analysis of the folklore and traditions. The current state of folklore and traditions has absorbed information from different historical times, but their comparison allows us to identify the foundations of the Ukrainians’ worldview.
 The purpose of this research is to find the ritual motives that formed the basis of the “procurement of a girl” plot based on the Slavs’ traditions and to find the place for this plot in the calendar-ritual cycle.
 The methodology. The article analyzes spring and wedding motifs within the folklore plot “procurement of a girl” and searches for the place of the corresponding ritual in the calendar-ritual cycle. The paper focuses on the typical formulas used in the respective songs, and focuses on initiation and solar bases of the plot.
 The results. Solar symbols of the plot “procurement of a girl” were identified: the Zori bathing in the form of a sun reflection, the meeting of the dawn by a girl under a pine tree with an allegorical ignition of a tree, the swimming in the Danube is a sunset allegory, the Cossacks movement coincides with the sun movement, the horse is a solar sign. The initiation character of the plot “procurement of a girl” was clarified: a journey through a disordered world, a comparison of the pine tree burning with the image of a bride, the ritual use of the magical time (dawn) and the ritual use of the magical bathing water. Among the ceremonial events of the spring period, Ivan Kupala holiday was chosen as the basis for comparison with plot peculiarities. It is shown that only this holiday combines spring and wedding ceremonies and traditions. It is concluded that an important element of the initiation rite is the horse used as the Sun image and a carrier through the afterlife, so the movement of Cossacks on horseback from the Don to home was a solar symbol. It is shown that within the specified plot at the initiation time the girl is alone and needs help at dawn from the Sun and from the groom-Cossack, who is waiting for the ceremony end. 
 The scientific novelty of this research is to clarify the place in the calendar-ritual cycle of events that took place within the “procurement of a girl” plot. It is established that the archaic solar marriage ceremony took place during the summer solstice, and later had divided into Ivan Kupala holiday and wedding ceremonies.
 The practical results of this research are the separation of archaic Easter plots (for the spring equinox) such as “Podolianochky” from Kupala plots such as “procurement of a girl”. A more detailed comparison of the last plot with Kupala traditions allowed to restore the ritual actions dramaturgy of the archaic solar marriage.
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Afolayan, Adeshina. "Fálétí’s Philosophical Sensibility." Yoruba Studies Review 3, no. 2 (2021): 1–10. http://dx.doi.org/10.32473/ysr.v3i2.129978.
Full textAbstract:
Let us begin with an unfortunate fact: Adébáyọ̀ Fálétí is one major writer that is hardly anthologized. The problem could not have been that he wrote in Yorùbá because Fágúnwà is far more anthologized than he is. Simon Gikandi’s edited Encyclopedia of African Literature (2003) has an entry and other multiple references to Fágúnwà. There is only one reference to Fálétí which is found in the index without any accompanying instance in the work. In Irele and Gikandi’s edited volumes, The Cambridge History of African and Caribbean Literature (2004), Fálétí only managed an appearance in the bibliography that featured four of his works—Wọn Rò Pé Wèrè Ni ́ (1965), Ọmọ Olókùn Ẹṣin (1969), Baṣòrun Gáà (1972) and Ìdààmú Páàdì Mínkáílù (1974). In the preface, Irele and Gikandi write: The scholarly interest in African orality also drew attention to the considerable body of literature in the African languages that had come into existence as a consequence of the reduction of these languages to writing, one of the enduring effects of Christian evangelization. The ancient tradition of Ethiopian literature in Ge’ez, and modern works like Thomas Mofolo’s Shaka in the Sotho language, and the series of Yorùbá novels by D. O. Fágúnwà, were thus able finally to receive the consideration they deserved. African-language literatures came to be regarded as a distinct province of the general landscape of imaginative life and literary activity on the African continent (2004, xiii). Essays 60 Adeshina Afolayan In fact, the publication of Fágúnwà’s Ògbójù Ọdẹ Nínú Igbó Ìrúnmalẹ (The ̀ Intrepid Hunter in the Forest of Spirits, 1938) made the chronology of literary events in Africa, and it misses out Fálétí’s 1965 work. In her “Literature in Yorùbá: poetry and prose; traveling theater and modern drama,” in the same volume, Karin Barber seems to redress this imbalance when she gives a place to Fálétí in her discussion of post-Fágúnwà writers. According to her, In the late 1960s and throughout the 1970s there was an explosion of literary creativity, with many new authors emerging and pioneering new styles and themes. Among the most prominent were Adébáyọ Fálétí whose ̀ Ọmọ Olókùn Ẹṣin (1969) is a historical novel dealing with a revolt against the overlordship of Ọyọ, and Ọládèjọ Òkédìjí, author of two brilliantly innovative crime thrillers (Àjà ló lẹrù, 1969, and Àgbàlagbà Akàn, 1971), as well as a more somber tragic novel of the destruction of a young boy who is relentlessly drawn into a life of crime in the underworld of Ifẹ (Atótó Arére, 1981). Notable also are Akínwùnmí Ìsòlá, whose university campus novel Ó le kú (1974) broke new ground in social setting and ambience; Afọlábí Ọlábímtán, author of several novels, including Kékeré Ẹkùn (1967), which deals with the conflicts arising from early Christian conversion in a small village, and Baba Rere! (1978), a contemporary satire on a corrupt big man; and Kólá Akínlàdé, prolific author of well-crafted detective stories such as Ta ló pa Ọmọ Ọba? (Who Killed the Prince’s Child?). These authors were all verbal stylists of a high order; they transformed the literary language, moving away from Fágúnwà’s rolling cadences to a more demotic, supple prose that successfully caught the accents of everyday life (2004, 368). While it may be misplaced to draw a comparison between Fágúnwà and Fálétí, there is a sense in which Fálétí’s demonstrates a more robust literary sensibility that goes beyond the allegorical into a realistic assessment of human relationship and sociality within the context of the Yorùbá cultural template. While Fágúnwà could not resist the influence of Christianity, and especially the allegorical motif of the journey in which humans encounter spiritual challenges (which John Bunyan’s Pilgrim Progress made popular), Fálétí is fundamentally a cultural connoisseur; a writer with a most intimate and dynamic understanding of the Yorùbá condition, especially in its conjunction with the political and sociocultural contexts of contemporary Nigeria. And we have Ọlátúndé Ọlátúnjí to thank for the deep exploration and interrogation of the fundamental poetic and literary nuances that Fálétí has left for us. In this essay, I will attempt to unearth the philosophical sensibility that undergirds Fálétí’s literary prowess, especially as demonstrated by his poems. Fálétí’s Philosophical Sensibility 61 Both the poets and the philosophers have always had one thing in common— the exploration of the possibilities that ideas and visions yield: As theoretical disciplines concerned with raising social consciousness, philosophy and literature engage in similar speculation about the good society and what is good for humanity. They influence thoughts about political currents and conditions. They can, for instance, lead the reader to critical reflections on the type of leaders suitable for a given society and on the degree of civic consciousness exercised by the people in protecting their rights. Philosophy and literature, equally, offer critical evaluation of existing and possible forms of political arrangements, beliefs and practices. In addition, they provide insights into political concepts and justification for normative judgements about politics and society. They also create awareness of possibilities for change (Okolo 2007, 1). Compared to Ọlátúnjí’s exploratory unraveling of Fálétí’s poetry, my objective is to enlist Fálétí as a poet that has not been given his due as one who is sensitive to the requirements of political philosophy and its objective of ensuring the imagination of a society that is properly ordered according to the imperatives of justice.
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Anisimov, K. V. "Bunin’s Chests: The Semantic Perspective of a Mundane Image." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 343–54. http://dx.doi.org/10.25205/2410-7883-2020-2-343-354.
Full textAbstract:
A number of observations provided by the given article are dedicated to a single element taken out of Bunin's plethora of mundane and routine things represented in his prose, i.e. chests and trinket boxes which are traced here in the perspective of symbolic and metaphoric potential of the author’s artistic writing, the ability of the latter to invest intensively the sense into a distinct object – a notion that may serve as a supplement to the mainstream and widespread concept of “enumerating”, cumulative tendency as a predominant in Bunin’s narrative. The reached result of the comparison of chests vs. trinket boxes contains the distinction between the two: whereas the former initiates the anamnesis, the latter – having no correspondence with natural proportions and size of human body – is located much closer to the memory as a spiritual phenomenon. “The Gentleman from San Francisco” is the first story to attract the primary attention. The text contains multiple mentioning of chests and suit-cases. The decisive scene in which both things are involved is the picture of the hero’s preparation for his last appearance among the high society he belongs to. Here, the anonymous gentleman is presented against the background of cases standing wide open in the middle of his room. A consumer transforms into a consumed – this is the inversion of traditional image that Bunin tries to convey to his reader, and this inversion is finally emphasized in an episode of hero’s body’s placement into the box in which English soda water used to be transported. Trinket boxes are pointed out as the second stage on the way of the author’s rethinking of this class of objects. The level of their symbolization now seems to be much higher – first of all because a trinket box yearns away from the “objective” predictability of a chest as an improvised and archetypal coffin compelling a reader to imagine the object of commemorative recreation in a more allegorical and metaphoric way rather than literally and corporally as it was in case with the chests. The primary source for the analysis now is Bunin’s short story “The Grammar of Love”. Its relations with “The Gentleman from San-Francisco” are traced along the leitmotif line of a discovery (“otkrytie” as “discovery”) that contains the sense of a fruitful geographic journey (it’s justly that both stories are travelogues), opening of the trinket box itself (“otkrytie” as “opening”) and revelation as a final result of the entire voyage (“otkrovenie” as “revelation”). What in “The Grammar of Love” becomes a successful embodiment of this mo- tif chain and supplies the plot with the quality of a cycle that leads the main hero right to the point of his psychological rediscovery of himself, in the later story “The Gentleman from San-Francisco” seems to be totally impossible. For the anonymous gentleman the prospect of his revival looks to be closed from the very beginning. In the concluding part of the paper the author basing on the works by Aleida Assmann, develops the idea of projecting Bunin’s im- ages of chests and trinket boxes onto the broad European context. The modern science that deals with the commemorative experience of culture, its practices and representations, has accumulated plenty of data relating to that kind of objects (boxes, chests etc.) as reservoirs of human memory. Their role in Bunin’s poetics is still underrated. However the true meaning of these, at first glance, basically external and unnecessary elements of a narrative is really significant. The author of the article presents a blueprint of possible interpretation of these images in Russo-European comparative perspective.
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HACOHEN, RUTH. "Rubbled Cities – Sounds and Silence: A Travelogue." Twentieth-Century Music 19, no. 2 (2022): 234–43. http://dx.doi.org/10.1017/s1478572222000123.
Full textAbstract:
AbstractA travelogue of an Israeli musicologist, descendant of German Jewish émigrés, her real and imaginary sonic journey roams between ruins and rubble in Germany and Israel/Palestine. She takes ruins as iconic, allegoric, and reverberating; partially resisting the ravages of time, enshrining sounds and memory. She deems rubble as formless, plain, and voiceless, devoid of identity, transient, and forgetful. The destruction of Jerusalem in 70 ce by the Romans is her starting point, and the currently occupied East Jerusalem by Israeli armed forces is where she ends. The imaginary soundscapes she unfolds resonates forlorn heavenly voices, Nazi youth's ditties, Israeli pop songs, operatic voices, and redemptive and subversive German and Israeli oratorios.
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Netolicky, Deborah. "Using literary metaphor and characters as structural and symbolic tools." Narrative Inquiry 25, no. 2 (2015): 264–82. http://dx.doi.org/10.1075/ni.25.2.04net.
Full textAbstract:
Narrative researchers are faced with the challenges of ethically co-constructing human data and writing meaningful, readable research texts, which protect participants’ anonymity. This article adds to the conversation of qualitative, and especially narrative, inquiry by presenting one creative approach to these challenges. It proposes that using extended literary metaphor and known literary characters, as analytical and structural tools, develops allegoric layers of meaning while preserving participant anonymity. Situating narrative research in the realm of imaginative story may help readers and researchers, like Alice in her Wonderland adventures, return from their journey through the research storyworld portal with new insights, and heightened understandings, of those phenomena being revealed and illuminated through narrative.
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Kasparova, Natalia. "Interpretations of the Aggadah in the Commentaries of the Maharal of Prague, the Gaon of Vilna and R. Nachman of Bratslav." Tirosh. Jewish, Slavic & Oriental Studies 20 (2020): 71–99. http://dx.doi.org/10.31168/2658-3380.2020.20.1.2.
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This article examines three commentaries on the Aggadah story of the Talmudic sage Rabbah bar bar Hana’s incredible journeys: by the Maharal of Prague (16th cent.), the Gaon of Vilna (18th cent.) and Rabbi Nachman of Bratslav (end 18th – 19th cent.) While all three authors see the story in an allegorical vein, each one has their own focus and seems to wander away from the text proper and interpret it through the lens of their own set of ideas, be it philosophy, metaphysics, ethics, asceticism or mysticism. So Maharal of Prague sees the Haggadah as kind of philosophical and mystical treatise. He hints to the reader that this Haggadah contains the secrets of metaphysics and Kabbalah. For the Vilna Gaon the story has an ethical message. He sees the crow as talmid haham whose face is black from malnutrition and studying the Torah at night. Rabbi Nachman is the most exalted and ecstatic scholar of all three. He uses the interpretation of Haggadah as part of his mystical lessons. The topic of his lesson is Messianic Deliverance.
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Knezevic, Milos. "Clarifia for the techno-conspiracy cognitive mindedness of the Dictionary of Technology." Filozofija i drustvo 26, no. 1 (2015): 115–38. http://dx.doi.org/10.2298/fid1501115k.
Full textAbstract:
Conceptual production of the journal Vidici (Horizons), particularly its thematic issue The Dictionary of Technology, represents the cultural content that preserves the sparkle in understanding the technological aspects of social and mental alienation and reification. Even today it has not lost its ideological and theoretical relevance. It allows more accurate interpretation and a better understanding of the ideological trends as well as political and cultural events at the University of Belgrade in the first years after the death of Josip Broz Tito. Time period which is marked as an early post-Titoism (1980-1983) has been explored poorly, and many interesting and significant events from the past were suppressed by the subsequent dramatic historical events. Special actuality of the Dictionary has been given by the harsh ideological criticism exposed in the form of the Analysis of the Dictionary of Technology that appeared as anonym material used by political forums and mainstream media to controvert and ban the Dictionary. While the authors of the Dictionary, based on metaphorical and allegorical insights, tried to get insight into the forthcoming crisis of the Yugoslav society, composers of Analysis wanted to defend blindly ideologically outlined stripe.
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Kharbutli, Mahmoud, and Ishraq Al-Omoush. "Socio-Psychological Alienation in Nathaniel Hawthorne’s “Young Goodman Brown”." Asian Social Science 17, no. 3 (2021): 55. http://dx.doi.org/10.5539/ass.v17n3p55.
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This paper investigates socio-psychological alienation in Hawthorne&rsquo;s story &ldquo;Young Goodman Brown&rdquo;. It focuses on Brown&rsquo;s psychological motivations that lead him to leave his village, Salem, on a journey to be taken literally and allegorically along with the inner conflicts thereof. Eventually, the result is a short-lived schism in his psyche. In fact, what urges Brown to step farther into the dark wood is an insistence to discover the whole truth so as to put an end to any vacillation between threatening possibilities suggested by the devil about the Puritan society to which he belongs. Thus, Brown turns into a rejectionist of all the teachings of his Puritan culture. In the end not only does he liberate himself from these cultural shackles, but he also seems to rise above them. So, while he lives among his countrymen he is not one of them. Brown&rsquo;s new psychological state never allows him to accept the evil nature and the hypocrisy of his ancestry. Moreover, the psychological confusion in Brown&rsquo;s psyche reaches its peak in a state of depression that we notice at the end of the story, which eventually puts him among those who have come to be called the &ldquo;dark&rdquo; romantics of the period, along with Poe, Melville, and Dickinson.
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Fonseca Lins, Luciano da, Kátia Goretti Veloso Lins, Carlos Augusto Carvalho de Vasconcelos, et al. "The religion of conscience in the light of initiatic psychoanalysis." International Journal of Complementary and Alternative Medicine 15, no. 2 (2022): 98–106. http://dx.doi.org/10.15406/ijcam.2022.15.00597.
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Introduction: Initiatic Psychoanalysis works with the plans of human spirituality. The philosophical, epistemological, and religious aspects began with the author Luciano da Fonseca Lins, Lacanian Psychoanalyst. Objective:The objective of Initiatic Psychoanalysis is to dismantle the identifications of the Self with the Illusory reality falsely presented as Perception. Perception is nothing more than electrical stimuli transformed in the brain, according to the beliefs of the perceiver. Method: A narrative review was carried out through a search in the electronic indexing databases MEDLINE/PubMed, Web of Science, CAPES journal portal and Google Scholar. The methods used on the interpretive basis of textual construction were the Zen Buddhist Koans, which are puzzles given to be decoded by the no-Mind, the allegorical method of Philo of Alexandria and the desert monks. Such methods, in the context of allegory, are allusive ways of directing the subject to mythical amplifications, legends and fairy tales, in the sense of seeking the Apophatic path, that is, through negative meditation, possibilities to transcend intellectual thought, which he defines to interrupt the Seeker Individual's linear and compulsive thinking. Results: The expected results are to enable the Seeker Individual to abandon their neurotic narratives, which are repetitions of neuronal patterns, to a different way of perceiving, different from linear thinking. Such procedures are presented as a possibility of awakening the Seeker Individual to his self-deceptions, experienced up to the present. Conclusion: Intuition and insights are expected to have modified perceptual value to transform individual existential from existing.
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Poulain, Alexandra. "Failed collaboration and queer love in Yeats’s The Cat and the Moon and Beckett’s Rough for Theatre I." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 71, no. 2 (2018): 233–44. http://dx.doi.org/10.5007/2175-8026.2018v71n2p233.
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Beckett’s Rough for Theatre I, first written in French in the late 1950s, picks up the theme of Yeats’s The Cat and the Moon—itself based on earlier material, including Synge’s The Well of the Saints. Staging mutually dependent disabled bodies and charting the elaboration of joint poetic vision, both plays also paradoxically focus on the dramaturgical and poetic potential of collaborative failure. While Yeats insisted that his play should be read allegorically as a dramatisation of the journey towards Unity of Being, this paper attempts to take it at face value, alongside Beckett’s sequel, reading them both as dramas of (failed) collaboration between disabled, mutually complementary bodies. More specifically, it argues that despite Yeats’s best effort to allegorise the grotesque bodies on the stage into abstract principles of Body and Soul, something in his play refuses to be subsumed into allegory and resists the play’s drive towards unity. This resistant “something” has to do with the queer (in every sense) version of love which is being played out on the stage, and it is precisely this queer, sadomasochistic, unproductive love, and the jouissance it procures, uncomfortably, for two disabled characters, which becomes the central theme of Beckett’s play. Further, the paper suggests that this motif of queer love doubles as a paradigm for an alternative form of literary collaboration, one which is not geared towards the actual production of a finished marketable product such as a book or a play, but rather towards the shared creation and immediate enjoyment of stories invented and performed in a space removed from, yet marginal to, the sphere of modern capitalistic exchange.
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URLACHER-BECHT, Céline. "La « mémoire privée » dans le carm. 1, 6 (= 2 Vogel) d’Ennode de Pavie. Problèmes méthodologiques et essai de reconstruction des circonstances du voyage." Viatica, HS4 (2021). http://dx.doi.org/10.52497/viatica2071.
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Abstract: After his return from the Roman synod of November 502, which recognized the legitimacy of Pope Symmachus in the Laurentian schism, Ennodius of Pavia composed a dicitio (carm. 1, 6 = 2 Vogel) in which he sings his safe return to his homeland, i.e. Milan. This poem, composed to be declaimed in front of a scholarly audience, is emblematic of the difficulties involved in reading, several centuries after their composition, epidictic discourses that were not written for posterity. In fact, the highly stylized account of his journey tells us almost nothing about the motivations and the conditions of the journey. However, the reasons for this silence are not only that the audience was aware of these factual data : Ennode is situated on another plane, elevating the narrative to an allegorical level. So the fears – real or fictitious – that he would have experienced during his journey (at sea?) suggest the fragility of the victory won by Symmachus.
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Maier, Carmen Daniela. "Closer to nature: A case study of the multifunctional selection of moving images in an environmental corporate video." Journal Multimodal Communication 1, no. 3 (2012). http://dx.doi.org/10.1515/mc-2012-0014.
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AbstractThis article explores how the selection of moving images in a corporate video contributes to the construction of an allegorical journey in an ideal spatio-temporal universe through which the corporate discourse communicates the company’s environmental commitment.The article is based on a social semiotic analysis which explores the discourse of renewal and belonging articulated visually in theThis article thus suggests that fine-grained analyses of the meaning-making potential of images in environmental corporate discourses can facilitate a better understanding of visual selective strategies in contemporary environmental communication in general.
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Coetser, Johan L. "Dias en Da Gama, Van Wyk Louw en Camões (her)besoek." Literator 35, no. 1 (2014). http://dx.doi.org/10.4102/lit.v35i1.1088.
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Dias and Da Gama, Van Wyk Louw and Camões (re)visited. Although he was the first Portuguese explorer who rounded the southernmost cape of Africa, world history does not herald Bartholomew Dias as an important figure. His compatriot Vasco da Gama was the first mariner who reached the Orient by navigating around the Cape. Despite Dias’s relative historical unimportance, N.P. van Wyk Louw preferred to write a radio play about him and his journey around the South African coast. Luís Vaz de Camões, on the other hand, wrote an epic poem about da Gama’s journey, which he titled Os Lusíadas (1572), or The sons of Portugal. The question I set out to answer, relates to the position and importance that the playwright of Dias (1952) attaches to themes in Canto 5 of Os Lusíadas (1572). I assume that the two can be compared due to the presence of the mythical character Adamastor in both. As in Os Lusíadas (1572), Adamastor takes the form of a storm in Dias (1952). I conclude that, in spite of different origins, both texts are allegorical and national in character. The differences in origin inspired a revised reading of Dias (1952).
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Gregersen, Susanne. "Kirke og prigrim i "Pilgrim's Progress"." Religionsvidenskabeligt Tidsskrift, no. 19 (July 18, 1991). http://dx.doi.org/10.7146/rt.v0i19.5342.
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John Bunyan's Pilgrim's Progress has usually been interpreted as a allegorical account of an individual pilgrim's search for salvation and sanctification on his lonely soul-journey, with a superimposed addition of church fellowship in the second part of the story. An interpretation like this loses the depth and complexity of Bunyan's story. Far from being an individual story Pilgrim's Progress describes the relationship and covenant between the individual pilgrim and the visible church of the elect as depicted in the Palace Beautiful. In Palace Beautiful, the history of the individual pilgrim from The City of Destruction to The Celestial City meets the history of God's salvation of his elected people from before creation to the Last Day. If any of these three layers of interpretation is missed out or translated into modern individualism, the whole scope of Bunyan's imaginative universe is reduced and oversimplified.
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AKSÜT ÇOBANOĞLU, Seda. "DELİ DUMRUL HİKÂYESİ’NDE VE EVERYMAN’DE ÖLÜM TEMSİLLERİ." Motif Akademi Halk Bilimi Dergisi, September 6, 2022. http://dx.doi.org/10.12981/mahder.1164861.
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Death is a reality of human life that everybody will experience sooner or later. As a universal concept, the reality and fear of death can be observed in many literary works. The Story of Deli Dumrul Son of Duha Kodja and Everyman are among the literary works in which death is included as a cultural representation. The Story of Deli Dumrul is one of the stories from the Book of Dede Korkut and tells the adventures of Deli Dumrul, who challenges Azrael. Everyman is an allegorical English morality play, in which the protagonist Everyman’s journey of death and reckoning process are told. Both of the texts belong to medieval times, and the concept of death is not handled as just a literary theme but also a fact of life in each. In the Story of Deli Dumrul, as a result of his challenge to Azrael, Deli Dumrul is punished by God via the decision of his death. In Everyman, the sinful character Everyman’s process of pre-death is depicted as a spiritual journey on the basis of the Christian religion. Each text deals with the concept of death in a different cultural context. Hence, they each represent death in accordance with their cultural features. In each text, death is personified and included as a character, namely Azrael and Death. The primary objective of this study is to discuss the way death is portrayed as a character in the light of the cultural milieu in these texts. For this objective, the way death is represented in relation to other characters is tried to be examined and analyzed in a comparative way with regard to the texts’ sociocultural and religious background. The arguments are discussed with relevant references to the literary texts mentioned. In the study, representations of death are investigated in terms of three aspects: death as God’s wrath; death as a threatening and disturbing character; death as a trigger in the protagonists’ awakening/rationalization process. Thus, representations of death in the mentioned texts are discussed in relation to God’s and the protagonists’ attitudes and actions. This study also investigates how cultural patterns are reflected in each text on the basis of representations of death. Death, in the form of a character in both of the texts, functions as a trigger by which the protagonists go through a maturation process. The fact that death’s being a trigger in the maturation process of the protagonists is common in both texts confirms that facing the reality of death has a didactic effect/function and that the representations of death in literary texts could have an educational aspect.
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Ghonghadze, Tamta. "Artistic Depiction of the Historical Processes of the 18th-19th Centuries in Vazha-Pshavela’s Prose ("Erem-Serem-Suremiani" / "My journey to Erem-Serem-Suremianeti")." Spekali / სპეკალი (Ed Nana Gaprindashvili / სამეცნიერო რედაქტორი ნანა გაფრინდაშვილი) 16 (2010). http://dx.doi.org/10.55804/jtsuspekali-16-7.
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In his work "Erem-Serem-Suremiani" / "My journey to Erem-Serem-Suremianeti" Vazha-Pshavela describes the national-social aspects of the historical-political changes that took place in the 18th-19th cc. Georgia. In "Erem-Serem-Suremiani" the author allegorically pictures weakening Georgia, the annexation of Georgia by Tsarist Russia and the social-cultural results caused by these events.
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Kastenhofer, Karen. "Natural Sciences in Academic Vienna in the 1990s: From “[Peripheral] Outpost Near the Iron Curtain” to “Central Hub”." Studia Historiae Scientiarum 21 (August 26, 2022). http://dx.doi.org/10.4467/2543702xshs.22.016.15982.
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In 1999, four editorials in the journal Biological Chemistry commemorate how, since the 1980s, Vienna has transformed from a “[peripheral] outpost near the Iron Curtain” to a “central hub” for life science research. A closer look at these texts reveals the explicit and implicit role of drawing maps for and within science, depicting centers, peripheries and ‒ in this case ‒ geopolitically real and allegorical “iron curtains”. Based on this observation and the issues it raises, I re-examine the pertinent empirical material covering relevant times, places, (sub-) disciplines and institutions, as well as the period after 2000. I deal with “molecularization” in biology, (sub)disciplinary differentiation, internationalization, as well as changes in public-private relations and a pair of complementary concepts of innovation and tradition. Thus, I retrace the establishment of a techno-epistemic culture in a local, disciplinary context. I conclude that guiding principles such as excellence and internationality are understood and implemented in academia in locally and historically bounded ways, and I argue that a critical re-examination of empirical material can substantially enrich our approach to such topics.
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Sivonen, Seppo. "Fagervikin kiinalaisen huvimajan kolme tulkintaa: Maisema, maku ja matka." Tahiti 8, no. 1 (2018). http://dx.doi.org/10.23995/tht.69290.
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Fagervikin ruukinkartanon maisemapuutarhaan 1780-luvulla rakennettu kiinalainen huvimaja on Suomessa edustavin esimerkki 1700-luvulla Euroopassa vallinneesta chinoiserie-muodista. Artikkelissaan Seppo Sivonen tarkastelee chinoiserien uusimman tutkimuksen näkökulmasta Fagervikin kiinalaisen huvimajan perustamista ja tehtävää 1700-luvun jälkipuoliskon maisemaestetiikassa, muuttuneissa makutottumuksissa ja kuvitteellisessa matkassa Kiinaan. Puutarhojen kiinalaisaiheet muistuttivat eurooppalaisten kauppa-komppanioiden kauppamatkoista Kiinaan ja tarjosivat toisaalta tilaisuuden mieli-kuvitukselliseen vaelteluun eksoottisessa idässä. Eri tulkinnat selittävät aiempaa moni-puolisemmin huvimajan rakentamisen motiiveja ja merkitystä Fagervikin ruukinomistajien elämänpiirissä. 
 
 Interpretations of the Chinese pavilion of Fagervik – the landscape, taste and journey In the landscape garden of Fagervik Manor in Inkoo there is a Chinese pavilion built by lieutenant Mikael Hisinger in 1780’s. This article seeks to investigate how the ideas of a new landscape garden, principle of sharawagdi and mode of chinoiserie diffused to Fagervik by making use of Everett Roger’s theory of diffusion of innovations. Mikael Hisinger become acquainted with the ideas of landscape garden and chinoiserie during his study trip to Europe in the years 1783 - 84 and before that in his home manor. He received impulses to design a Chinese pavilion also from Sweden and indirectly from architect William Chambers from England. The article indicates that “Chinese-style” diverse landscape of Fagervik and chinoiserie was not only motives to build a Chinese pavilion. A new pavilion was a gift to Mikael Hisinger’s father Johan Hisinger who belonged to the wealthy Swedish merchant class. A journey to a new pavilion via a bridge or waterways linked him allegorically with Sweden’s international commercial networks and trade of Swedish East Indian Company.