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Books on the topic 'Allegorical narrative'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Cancel, Robert. Allegorical speculation in an oral society: The Tabwa narrative tradition. University of California Press, 1989.

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2

To realize the universal: Allegorical narrative in Thornton Wilder's plays and novels. Peter Lang, 2012.

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3

Speculative grammar and stoic language theory in medieval allegorical narrative: From Prudentius to Alan of Lille. Routledge, 2009.

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4

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

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5

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

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6

Articulating gender, narrating the nation: Allegorical femininity in Romanian fiction. East European Monographs, 2004.

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7

Le immagini e il tempo: Narrazione visiva, storia e allegoria tra Cinquecento e Seicento. Edizioni della Normale, 2007.

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8

Pratolini, Vasco. L’ammuina. Edited by Maria Carla Papini. Firenze University Press, 2017. http://dx.doi.org/10.36253/978-88-6453-529-6.

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È alla fine degli anni Quaranta che Vasco Pratolini inizia a concepire il progetto di quel “romanzo napoletano” che persegue almeno sino al gennaio del 1952. Ripetutamente annunciato all’editore Vallecchi come imminente, il romanzo, a più riprese e in vario modo ideato, non fu mai pubblicato e, forse, come tale, neppure scritto. Tuttavia quel progetto torna ad affiorare e perfino a realizzarsi nel testo de L’ammuina, il trattamento che Pratolini scrive, agli inizi degli anni Sessanta, per il film di Nanni Loy, Le quattro giornate di Napoli. Ulteriore esempio dell’attività dello scrittore nel mondo del cinema, L’ammuina, a distanza di oltre cinquant’anni dalla sua stesura e dall’uscita del film, assume una dimensione del tutto autonoma rispetto alla sua originaria destinazione, tanto da poter apparire come il “romanzo napoletano” di Pratolini, quello che l’autore di Cronache di poveri amanti, di Metello, Lo scialo, Allegoria e derisione, e di tanti altri romanzi e racconti che hanno dato lustro alla nostra narrativa, aveva vagheggiato e che ora ci appare, sia pure in altra forma, nelle pagine de L’ammuina.

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9

al-Musawi, Muhsin. The Medieval Turn in Modern Arabic Narrative. Edited by Waïl S. Hassan. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199349791.013.4.

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This chapter examines the medieval turn in modern Arabic fiction, which includes historical reconstruction, neo-historicism, topographical narration, Sufi dreams and visions, allegorical travelogues, biographies, chats and anecdotes, and majālis, or assemblies accommodating hashish addicts and Sufi gatherings. The chapter first considers the Arabic historical novel before turning to narrative genealogies in modern Arabic fiction in which visions and dreams are present as markers of medieval Sufism and poetics. It then explores the phenomenal growth of Sufism among peasants, craftsmen, and artisans, including women; Arabic novels that connect well with the khiṭaṭ genre; the travelogue as a venue for an allegorical critique; the use of Qur’anic phrases or catchwords in Arabic narratives; and works entrenched in classical style. The chapter provides examples to dispute the notion that pre-modern Arab culture has not survived its encounter with Europe and the engagement with European literary norms.

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10

Dan, Hansong. To Realize the Universal: Allegorical Narrative in Thornton Wilder's Plays and Novels. Lang AG International Academic Publishers, Peter, 2012.

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11

Bardzell, Jeffrey. Speculative Grammar and Stoic Language Theory in Medieval Allegorical Narrative: From Prudentius to Alan of Lille. Taylor & Francis Group, 2014.

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12

Zeeman, Nicolette. The Arts of Disruption. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198860242.001.0001.

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The Arts of Disruption offers a series of new readings of the allegorical poem Piers Plowman: but it is also a book about allegory. It argues not just that there are distinctively disruptive ‘arts’ that occur in allegory, but that allegory, because it is interested in the difficulty of making meaning, is itself a disruptive art. The book approaches this topic via the study of five medieval allegorical narrative structures that exploit diegetic conflict and disruption. Although very different, they all bring together contrasting descriptions of spiritual process, in order to develop new understanding and excite moral or devotional change. These five structures are: the paradiastolic ‘hypocritical figure’ (such as vices masked by being made to look like ‘adjacent’ virtues), personification debate, violent language and gestures of apophasis, narratives of bodily decline, and grail romance. Each appears in a range of texts, which the book explores, along with other connected materials in medieval rhetoric, logic, grammar, spiritual thought, ethics, medicine, and romance iconography. These allegorical narrative structures appear radically transformed in Piers Plowman, where the poem makes further meaning out of the friction between them. Much of the allegorical work of the poem occurs at the points of their intersection, and within the conceptual gaps that open up between them. Ranging across a wide variety of medieval allegorical texts, the book shows from many perspectives allegory’s juxtaposition of the heterogeneous and its questioning of supposed continuities.

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13

Bardzell, Jeffr. Speculative Grammar and Stoic Language Theory in Medieval Allegorical Narrative: From Prudentius to Alan of Lille (Studies in Medieval History & Culture). Routledge, 2010.

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14

O’Loughlin Bérat, Emma. Romance and Revelation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198795148.003.0008.

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This chapter explores how the characteristically secular and literal genre of romance helped to make biblical allegorical narratives, like John’s Revelation, relevant to the human experiences of lay readers. It compares representations of motherhood in thirteenth- and fourteenth-century English illustrated Apocalypse manuscripts and the fourteenth-century romance Octavian, showing how both texts depict motherhood in secular and allegorical terms that relate to the experiences of lay female readers. The first third of Octavian echoes the story of the Woman of Revelation 12, the Woman clothed with the sun who flees to the wilderness after delivering a son, but it refigures her narrative in the decidedly secular terms of the Empress’s labour, exile, and loss of her sons. In contrast to the male-orientated, frequently misogynistic, exegetical tradition, Octavian shows how romance provided a flexible and informal space to interpret biblical allegory through different lenses of human experience.

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15

Meng, Jing. Fragmented Memories and Screening Nostalgia for the Cultural Revolution. Hong Kong University Press, 2020. http://dx.doi.org/10.5790/hongkong/9789888528462.001.0001.

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This book explores the way personal memories and micro-narratives of the Cultural Revolution are represented in post-2001 films and television dramas in mainland China, unravelling the complex political, social and cultural forces imbricated within the personalized narrative modes of remembering the past in postsocialist China. While representations of personal stories mushroomed after the Culture Revolution, the deepened marketization and privatization after 2001 have triggered a new wave of representations of personal memories on screen, which divert from those earlier allegorical narratives and are more sentimental, fragmented and nostalgic. The personalized reminiscences of the past suggest an alternative narrative to official history and grand narratives, and at the same time, by promoting the sentiment of nostalgia, they also become a marketing strategy. Rather than perceiving the rising micro-narratives as either homogeneous or autonomous, this book argues that they often embody disparate qualities and potentials. Moreover, the various micro-narratives and personal memories at play facilitate fresh understandings of China’s socialist past and postsocialist present: the legacies of socialism continue to influence China, constituting the postsocialist reality that accommodates different ideologies and temporalities.

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16

Davies, Michael. The Pilgrim’s Progress (1678). Edited by Michael Davies and W. R. Owens. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199581306.013.12.

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Focusing on Christian’s confrontation with Apollyon, this chapter provides an overview of John Bunyan’s first religious allegory and his most famous work of fiction: The Pilgrim’s Progress (originally published in 1678). It considers the enduring literary and imaginative power of The Pilgrim’s Progress by addressing Bunyan’s sophisticated control of popular fiction and the Bible, as well as of metaphor, allegory, and allegorical interpretation within its narrative form. It also places The Pilgrim’s Progress within some of its key theological and historical contexts, including the persecution of Nonconformists, such as Bunyan himself, who suffered throughout the Restoration for the sake of conscience and in the name of religious liberty for Protestant Dissenters.

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17

Davies, Michael. Bunyan and Religious Allegory. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199580033.003.0019.

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This chapter re-examines John Bunyan's religious allegories, and in particular The Pilgrim's Progress (1678), as works that complicate what might be thought of as novelistic habits of reading and writing. It seeks to approach them not simply as precursors to the novel but as radically different kinds of fiction. One might wish to treat Bunyan's allegories as ‘entertainment machines’ similar to other kinds of early modern literature, such as chivalric romance or the rogue biography, but they resist and arguably seek to reform ‘the fiction reading impulse’. To this degree, Bunyan's major allegorical works are sometimes like novels and at the same time nothing like them. Should Bunyan still hold a place in the history of the novel, it could be despite rather than because of the narrative methods he adopts.

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18

Bruckner, Matilda Tomaryn. Weaving a Tapestry from Biblical Exegesis to Romance Textuality. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198795148.003.0006.

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This study examines how the particular character of Grail romances follows from the incongruous meeting of courtly and Christian discourses, combined for the first time in LeConte du Graal, Chrétien de Troyes’s last, unfinished romance. The romancer’s unsettling inclusion of religious issues within Arthurian narrative coincides with a new turn toward the Bible’s literal and historical sense observable in both Christian and Jewish biblical exegesis. By investigating features shared by romance and exegesis, we can glimpse how a number of issues involving representation and interpretation disseminate through later Grail stories, as the romancer’s inaugural gestures structure how rewriters negotiate the complexities of their enigmatic model. Divided into three sections, the chapter first treats the littera’s historical aspects and its arrangements (order, sequence, context). The second section examines the shifting relation between literal and allegorical senses, in order to explore the exegetical surprises of Chrétien’s prologue in the third.

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19

Tambling, Jeremy. Bunyan, Emblem, and Allegory. Edited by Michael Davies and W. R. Owens. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199581306.013.19.

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This chapter discusses John Bunyan in relation to five versions of allegory, in turn: personification; allegorical narratives, and Bunyan’s use of the allegorical framework of the dream, popular in the medieval period; the concept of figura, as developed by Erich Auerbach; emblems and emblematic allegory; and pictorial symbols as allegory. Finally, the chapter considers the work of Walter Benjamin and Paul de Man, and discusses the radical uses of allegory in critiquing ideological meanings and the view that language is inherently allegorical, which destabilizes both authors and their utterance, making all expression ironic, taking irony as a form of allegory. Although focusing mainly on The Pilgrim’s Progress, the chapter also discusses Bunyan’s use of allegory in his other fictional works.

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20

Orlich, Ileana Alexandra. Articulating Gender, Narrating the Nation: Allegorical Femininity in Romanian Fiction (East European Monograph). East European Monographs, 2005.

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21

Through The Daemons Gate Keplers Somnium Medieval Dream Narratives And The Polysemy Of Allegorical Motifs. Taylor & Francis Ltd, 2010.

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22

Through The Daemon's Gate: Kepler's Somnium, Medieval Dream Narratives, and the Polysemy of Allegorical Motifs (Studies in Medieval History and Culture). Routledge, 2006.

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23

Otto, Jennifer. “One of our Predecessors”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198820727.003.0004.

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Origen mentions Philo by name only three times in his surviving works. More often, he refers to Philo obliquely as “one of our predecessors” or, more literally, “one of those who came before us.” An analysis of Origen’s references to Philo in light of his usage of the terms Jew, Hebrew, Israel, and Ebionite in Contra Celsum and the Commentary on Matthew reveals Origen’s approval of Philo’s allegorical interpretations of biblical narratives. Yet on one occasion, Origen criticizes Philo for failing to interpret the commandments of the Jewish law “according to the spirit” rather than “according to the letter.” Origen charges Philo with committing the same error that he charges against Jews in general, namely, the failure to interpret and observe the commandments of the Mosaic law spiritually rather than literally.

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24

Ossa-Richardson, Anthony. A History of Ambiguity. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691167954.001.0001.

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Ever since it was first published in 1930, William Empson's Seven Types of Ambiguity has been perceived as a milestone in literary criticism—far from being an impediment to communication, ambiguity now seemed an index of poetic richness and expressive power. Little, however, has been written on the broader trajectory of Western thought about ambiguity before Empson; as a result, the nature of his innovation has been poorly understood. This book remedies this omission. Starting with classical grammar and rhetoric, and moving on to moral theology, law, biblical exegesis, German philosophy, and literary criticism, the book explores the many ways in which readers and theorists posited, denied, conceptualised, and argued over the existence of multiple meanings in texts between antiquity and the twentieth century. This process took on a variety of interconnected forms, from the Renaissance delight in the ‘elegance’ of ambiguities in Horace, through the extraordinary Catholic claim that Scripture could contain multiple literal—and not just allegorical—senses, to the theory of dramatic irony developed in the nineteenth century, a theory intertwined with discoveries of the double meanings in Greek tragedy. Such narratives are not merely of antiquarian interest: rather, they provide an insight into the foundations of modern criticism, revealing deep resonances between acts of interpretation in disparate eras and contexts. The book lays bare the long tradition of efforts to liberate language, and even a poet's intention, from the strictures of a single meaning.

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