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Journal articles on the topic 'Allegorical narrative'
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1
Abreu, Alexandre Veloso de. "Unnatural London: the Metaphor and the Marvelous in China Mieville's Perdido Street Station." Scripta 22, no. 46 (2018): 193–202. http://dx.doi.org/10.5752/p.2358-3428.2018v22n46p193-202.
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This paper explores allegorical and unnatural elements in China Miéville’s novel Perdido Street Station, starting with a parallel between the fictional city New Crobuzon and London. Fantasy literature examines human nature by means of myth and archetype and science fiction exploits the same aspects, although emphasizing technological possibilities. Horror is said to explore human nature plunging into our deepest fears. We encounter the three elements profusely in the narrative, making it a dense fictional exercise. In postclassical narratology, unnatural narratives are understood as mimetical exercises questioning verisimilitude in the level of the story and of discourse. When considered unnatural, narratives have a broader scope, sometimes even transcending this mimetical limitation. Fantastical and marvelous elements generally strike us as bizarre and question the standards that govern the real world around us. Although Fantasy worlds do also mirror the world we live in, they allow us the opportunity to confront the model when physically or logically impossible characters or scenes enhance the reader’s imagination. Elements of the fantastic and the marvelous relate to metaphor as a figure of speech and can help us explore characters’ archetypical functions, relating these allegorical symbols to the polis. In Miéville’s narrative, such characters will be paralleled to inhabitants of London in different temporal and spatial contexts, enhancing how the novel metaphorically represents the city as an elaborate narrative strategy.
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White, Mandala. "Framing travel and terrorism: Allegory in The Reluctant Fundamentalist." Journal of Commonwealth Literature 54, no. 3 (2017): 444–59. http://dx.doi.org/10.1177/0021989417738125.
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In contrast to others who have read Mohsin Hamid’s The Reluctant Fundamentalist exclusively as a political novel, I argue that the novel’s most significant contribution to the body of post-9/11 literature is formal in nature. The novel indeed mobilizes political issues, but it achieves this by creating a series of allegories that centre on various forms of travel connected to the terrorism hinted at in the term “fundamentalist” in the title. These allegories, which I examine in the first part of this article, revolve around the interactions between the protagonist and those he encounters as he travels: the hosts and guests in the travel interactions function as allegories of different nations, and the relationships between nations within global space. However, while the novel’s travel allegories indeed raise political concerns, these are often conflicted and ambiguous owing to the unreliability of the narrator. Rather than selecting one of the unreliable perspectives brought forth by the travel allegories as “true”, I read them as part of a larger meta-allegorical project in which the narrative itself becomes an allegory of the uncertainties of the post-9/11 environment. In the second part of this article, I discuss this meta-allegorical project through an examination of the novel’s narrative structure, particularly its frame narrative which, I argue, provides a means for Hamid to allegorically explore the ways that permeable borders engender paranoia and fear of terrorism in the post-9/11 context.
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McCall, Daniel F., and Robert Cancel. "Allegorical Speculation in an Oral Society: The Tabwa Narrative Tradition." International Journal of African Historical Studies 23, no. 1 (1990): 185. http://dx.doi.org/10.2307/220027.
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Dorsey, David, and Robert Cancel. "Allegorical Speculation in an Oral Society: The Tabwa Narrative Tradition." World Literature Today 64, no. 1 (1990): 184. http://dx.doi.org/10.2307/40146063.
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Roberts, Allen F., and Robert Cancel. "Allegorical Speculation in an Oral Society: The Tabwa Narrative Tradition." African Arts 24, no. 1 (1991): 96. http://dx.doi.org/10.2307/3336886.
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Roberts, Allen F., and Robert Cancel. "Allegorical Speculation in an Oral Society: The Tabwa Narrative Tradition." Journal of American Folklore 104, no. 413 (1991): 379. http://dx.doi.org/10.2307/541464.
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Merolla, Daniela. "Filming African Creation Myths." Religion and the Arts 13, no. 4 (2009): 521–33. http://dx.doi.org/10.1163/107992609x12524941450082.
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AbstractAfrican film directors have made use of mythology and oral storytelling in countless circumstances. These filmmakers have explored the core role that orality plays in ideas of African identity and used mythological themes as allegorical forms in order to address present-day issues while working under dictatorial regimes. They have turned to mythology and oral storytelling because of their determination to convey an African philosophical approach to the world, often to counter the colonial and neo-colonial oversimplification of African cultures seen as bereft of grand narratives on the self and the world. Identity construction, critical allegorical messages, and philosophical approaches are discussed in this paper by looking at the interplay between verbal narrative and images in two “epic” films: Keïta, l'héritage du Griot (1995) directed by Dani Kouyaté, and Yeelen (1987) directed by Souleymane Cissé.
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Grillo, Jennie. "The Envelope and the Halo: Reading Susanna Allegorically." Interpretation: A Journal of Bible and Theology 72, no. 4 (2018): 408–17. http://dx.doi.org/10.1177/0020964318784242.
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The tale of Susanna in the Greek versions of the book of Daniel has its roots in allegorical readings of Hebrew Scripture, and the church has read the story of Susanna both as an allegory of the church and of Christ. The allegorical treatment of Susanna as the church is the most acceptable to modern criticism, since it preserves the narrative coherence of the book; but the more fragmentary, piecemeal allegory of Susanna as Christ was compelling in antiquity, especially in visual interpretations. This essay explores how allegorical readings of Susanna as a Christ figure capture an essential part of the reader’s visual, non-sequential experience of the text and provides a satisfying and meaningful image for Christians.
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Shanzer, Danuta. "Latent Narrative Patterns, Allegorical Choices, and Literary Unity in Augustine's Confessions." Vigiliae Christianae 46, no. 1 (1992): 40. http://dx.doi.org/10.2307/1583883.
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Shanzer, Danuta. "Latent Narrative Patterns, Allegorical Choices, and Literary Unity in Augustine's Confessions1." Vigiliae Christianae 46, no. 1 (1992): 40–56. http://dx.doi.org/10.1163/157007292x00250.
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Hábl, Jan. "“True peace of mind” allegorical narrative as a tool of moral (trans)formation in J. A. Comenius’s Labyrinth." Ethics & Bioethics 9, no. 3-4 (2019): 131–38. http://dx.doi.org/10.2478/ebce-2019-0012.
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Abstract Labyrinth of the world and paradise of the heart belongs to the jewels of Czech literature. The author – Jan Amos Comenius – consciously uses allegorical narrative for didactic purposes – mainly for his own moral self-reflection in the face of suffering. His method proved to be very effective. The goal of this text is to explore the potential of the literary method from the perspective of moral (trans)formation. The key question is: How did Comenius convey the moral content of his “lesson” in the Labyrinth? Or in general: How does allegorical narrative work as a tool of moral (trans)formation – both for the reader and author of the text. Specifically, this paper attempts to show several literary functions of the Labyrinth as a tool of moral (trans)formation: the therapeutic function, the emphatic function, the imitation function, the organizational function, the performative function and the plot function.
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Sándor, Katalin. "The Polaroid and the Cross. Media-Reflexivity and Allegorical Figurations in Lucian Pintilie’s The Oak (1992)." Acta Universitatis Sapientiae, Film and Media Studies 12, no. 1 (2016): 45–66. http://dx.doi.org/10.1515/ausfm-2016-0003.
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Abstract The paper discusses the question of media reflexivity and allegorical figuration in Lucian Pintilie’s 1992 film, The Oak. Through a fictional narrative, the film reflects on the communist period from the historical context of the post-1989 transition strongly marked by the after-effects of dictatorship and by political, social and economic instability. By incorporating a diegetic Polaroid camera and a home movie, The Oak displays a reflexive preoccupation with the mediality and the socio-cultural constructedness of the image. The figurative, allegorizing tendency of the film – manifest in the subversive recontextualization of grand narratives, iconographic codes or images of art history – also foregrounds the question of cultural mediation. I argue that by displaying the non-transparency of the cinematic image and the cultural mediatedness of the “real,” the media-reflexive and allegorical-figurative discourse of the film can be regarded as a critical historical response to the social and representational crises linked to the communist era, but at the same time it may be symptomatic of the social, cultural, political anxieties of post-1989 transition.1
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Corona, Guillermo Laín. "El humo dormido, de Gabriel Miró." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 48, no. 1 (2013): 79–99. http://dx.doi.org/10.1075/rro.48.1.04lai.
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From the beginning of his literary career, Gabriel Miró (Alicante, 1879 — Madrid, 1930) has been considered a poet in prose, a lyricist or even a stylist. Of course, one cannot ignore that Miró’s work is highly poetic, as for the beauty of his language and landscapes or for some themes easily associated with Romantic lyrical commonplaces. But this is just a superficial screen behind which other narrative qualities are hidden. Indeed, Miró seems to use lyricism to deliberately conceal the narration, somewhat as a form of subliming it. This can be best seen when analysing El humo dormido (1919), for it is one of his books that has most often been praised as lyrical, but, although not exactly a novel, it hides a strong narrative structure of apprenticeship with an allegorical political meaning.
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Tavakoli‐Targhi, Mohamad. "Contested memories: narrative structures and allegorical meanings of Iran's pre‐islamic history." Iranian Studies 29, no. 1-2 (1996): 149–75. http://dx.doi.org/10.1080/00210869608701847.
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Gibbs, Raymond W. "The allegorical character of political metaphors in discourse." Metaphor and the Social World 5, no. 2 (2015): 264–82. http://dx.doi.org/10.1075/msw.5.2.05gib.
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When people talk about politics, they often employ metaphors, sometimes in extended sequences, in which a metaphorical idea is referred to across a larger segment of discourse (e.g., talk about political debates as wars, boxing matches, or games of chess). Empirical studies from psychology indicate that, at least in some cases, metaphors can have great persuasive value. My primary claim in this article is that many political metaphors in discourse are often understood as instances of allegory. Allegories refer to extended metaphors in which an entire narrative introduces and elaborates upon a metaphorical source domain to present a rich symbolic understanding of people and events. I describe several notable instances of political allegory and go on to suggest that people can readily interpret many of these allegories via ‘embodied simulations’ by which they imagine themselves participating in the very actions referred to in the language. These embodied simulations are automatic and sometimes tap into enduring allegorical themes that have symbolic value within different cultural communities.
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MacKendrick, Kenneth. "What is a Superhero?" Bulletin for the Study of Religion 44, no. 1 (2015): 19–25. http://dx.doi.org/10.1558/bsor.v44i1.26860.
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The essay argues that Marvel's Civil War is an interesting narrative concerning the superhero metacode at work. After a brief overview of the crossover event, its allegorical qualities will be discussed followed by a supplemental reading focusing on how superheroes, as agents of pretend play, come to be socialized, coded, and distributed across shared social networks.
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Monforte, Javier, Víctor Pérez-Samaniego, and José Devís-Devís. "The Anabasis of Patrick: Travelling an allegorical narrative map of illness and disability." Psychology of Sport and Exercise 37 (July 2018): 235–43. http://dx.doi.org/10.1016/j.psychsport.2017.10.005.
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Kanno, Mieko. "The rhetoric of the shadow: a semiotic study of James Clarke's Isolation." Tempo, no. 215 (January 2001): 27–31. http://dx.doi.org/10.1017/s004029820000824x.
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A musical work can tell a story as beautifully as a work of literature can. In music we may not easily grasp the meaning of the story but there is nevertheless a fascination about its semantic potential. The type of narrative such a work expounds can be described as allegorical, because of the ambiguity of its semantic definition. We are free to interpret it in whatever ways we like, but one of the interests in a narrative is the way in which it encodes specific strategies of interpretation for the listener. As long as there is a story there are always characters involved who act as the reader, the narrator, and the author behind the work, regardless of whether they really exist as actual people. This discussion focuses around the role of the reader-listener: its aim is to show that the reader-listener's contribution is a fundamental element in understanding not only the process of narration but also the work's aesthetic scheme itself.
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Huang, Ya Fen. "The Disease Narrative in Albert Camus’ The Plague." English Language and Literature Studies 11, no. 1 (2021): 1. http://dx.doi.org/10.5539/ells.v11n1p1.
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In many literary works, a character’s physical disease or illness also metaphorically references various universal characteristics of the human condition—death, religion, politics and relationships—as they are interworked amidst healthy and unhealthy bodies. In the case of Albert Camus’ The Plague, the epidemic of bubonic plague in the Algerian port city of Oran is considered an allegory for the German occupation of France from 1940 to 1944. The highly infectious disease disrupts citizens’ lives in real time, with consequences that further manifest throughout the world to varying degrees and in varying timeframes thereafter. This paper attempts to explore Camus’s metaphoric connotations of “the plague” within these social, cultural and historical narratives. This interdisciplinary study will also bring together analyses of literary and non-literary texts about the disease narrative, while also addressing literary theories related to medical science in order to better understand the allegorical definitions of illness, death, disability and exile in The Plague.
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Gehrmann, Susanne. "Remembering colonial violence: Inter/textual strategies of Congolese authors." Tydskrif vir Letterkunde 46, no. 1 (2017): 11–27. http://dx.doi.org/10.17159/2309-9070/tvl.v.46i1.3461.
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This article explores the Congolese remembering of the experienced colonial violence through the medium of literature. Although criticism of colonialism is not a favourite topic of Congolese writers, there exists an important corpus of texts, especially when the literary production of Congo Kinshasa and Congo Brazzaville with their politically distinct though sometimes similar experiences is taken into account. Three main strategies of writing about the topic can be distinguished: a documentary mode, an allegorical mode and a fragmented mode, which often appear in combination. Intertextuality with the colonial archive as well as oral African narrations is a recurrent feature of these texts. The short stories of Lomami Tchibamba, of the first generation of Congolese authors writing in French, are analysed as examples for a dominantly allegorical narration. Mythical creatures taken from the context of oral literature become symbols for the process of alterity and power relations during colonialism, while the construction of a heroic figure of African resistance provides a counter-narrative to colonial texts of conquest. Thomas Mpoyi-Buatu’s novel La reproduction (1986) provides an example of fragmented writing that reflects the traumatic experience of violence in both Congolese memory of colonialism and Congolese suffering of the present violent dictatorial regime. The body of the protagonist and narrator becomes the literal site of remembering.
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Ihina, Zoia. "The topos “revenge” in the Gothic narrative “A legend of the Nightfort”: ways of crystallisation." Lege Artis 2, no. 1 (2017): 90–127. http://dx.doi.org/10.1515/lart-2017-0003.
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Abstract The article explores how the meaning of the topos revenge is crystallised (accumulated and interpreted) in the gothic narrative “A legend of the Nightfort” at two planes: internal (the one concerning the narrator-narratee roles) and external (concerning the implied author-reader roles). Both planes are linked in the process of intranarrative transgression, where the first mode of crystallisation is regarded as an allegorical interpretation of revenge and the second one – as a symbolic interpretation.
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Chen, Chun-yen. "Betrayal of Form: The “Teeming” Narrative and the Allegorical Impulse in Rushdie’s Midnight’s Children." Journal of Commonwealth Literature 44, no. 3 (2009): 143–61. http://dx.doi.org/10.1177/0021989409342161.
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Hill, Sarah. "Ending it all: Genesis and Revelation." Popular Music 32, no. 2 (2013): 197–221. http://dx.doi.org/10.1017/s0261143013000044.
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AbstractBecause of their brevity, many pop songs of the last 50 years seemingly elude the application of narrative theory. But the deliberate lengthening of individual tracks during the early years of progressive rock exposes them to precisely that kind of examination. One such song is ‘Supper's Ready’, which closes the 1972 Genesis album Foxtrot. This allegorical 23-minute epic, abundant with references to the Book of Revelation, provides an intriguing model for the ‘concept song’, and confounds the listener's expectations – lyrical, musical, narrative, structural and temporal. In this article I explore the seven tableaux of ‘Supper's Ready’, paying particular attention to the treatment of the apocalyptic theme, apply formalist and narrative theories of interpretation, and consider ways in which the song's design demands that the listener engage with both its concept and its construction.
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Zawlacki, Jake. "Allegorical Aĭdaḣar: An Animated Look at Kazakh National Identity". FOLKLORICA - Journal of the Slavic, East European, and Eurasian Folklore Association 23 (8 грудня 2020): 43–76. http://dx.doi.org/10.17161/folklorica.v23i.14969.
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The little-known Kazakh animated film, Why the Swallow’s Tail is Forked (1967), written and directed by Amen Khaydarov, not only holds the position as the first example, but is also acclaimed as the greatest work of Kazakh animation by critics, academics, and contemporary animators. The film, based on the traditional Kazakh folk tale of the same name, was significantly altered by Khaydarov in his auteurist direction resulting in a radical retelling. Despite these alterations, Khaydarov’s variant of the folk tale resonated with viewers of the period as well as today. In this paper I argue how certain motifs are changed, added, and removed from the original folk tale by Khaydarov, consciously or unconsciously, to incorporate new allegorical elements in the folk tale. This essay takes an “animated look” at the film in that it performs a close reading of a folk tale through a film medium. After performing a shot by shot analysis, I deconstruct alleged “traditional” Kazakh elements, then analyze the dreamlike nature of pastoral national identity, the interplay of film, written, and spoken folklore, and the rhizomatic structure of folklore through audio and visual elements. Ultimately, I return to the film and display it as a construction of a specific nationalist narrative thus shedding light on the broader pastoral nationalist vision.
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Devir, Nathan Paul. "Reexamining the Allegorical Hermeneutic in A. B. Yehoshua’s A Late Divorce." Religion and the Arts 16, no. 5 (2012): 507–38. http://dx.doi.org/10.1163/15685292-12341237.
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Abstract This article demonstrates the ways in which the allegorical hermeneutic of A. B. Yehoshua’s novel A Late Divorce (1982) is inextricably linked to the intertextual reservoir of Judaic culture, particularly by way of its dependence upon the stories, themes, motifs, and characters from the Judaic textual tradition. Additionally, it shows how Yehoshua’s novel subverts those narrative patterns along the lines of emphatically Israeli concerns, simultaneously providing a totemically charged connection with the Judaic textual tradition and evidence of a radical departure from it. Drawing on the theoretical perspectives of archetypal psychology, this study also provides a reexamination of the much-discussed persona of Naomi, the text’s central female character, with respect to her role as the “mediatrix of the unknown” and her use of predominantly culturally inherited points of reference to link the thematic portions of the novel.
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Zenkin, Sergey N. "The Mask of the Muse. Visuality and Narrative in Richard Le Gallienne’s The Worshiper of the Image." Studia Litterarum 6, no. 3 (2021): 10–39. http://dx.doi.org/10.22455/2500-4247-2021-6-3-10-39.
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This article is a close reading of The Worshiper of the Image (1898), a tragic fairytale by Richard Le Gallienne — a symbolist allegory, whose female character is a coming-to-life visual image. This character is distinguished by polymorphism which manifests itself both in the story’s plot and in the character’s mythical autobiography, namely, in her reincarnations over centuries. The visual hypostasis of this character is L’Inconnue de la Seine — a popular and mysterious kitsch object, the mask of a girl who allegedly drowned in Seine in the second half of the 19th century. The interaction of the Image with other characters is determined by the concept of contagion, i.e., immediate power contact which alternates with abstract allegorical interpretations of the Image (considered, for example, as the embodiment of Art or Beauty); in the course of the narrative, the contagious image gradually displaces the story’s living characters, including the wife of the main character who uncannily resembles and doubles the image. These narrative and visual collisions reflect a precarious position of the visual image in the decadent culture — a conflict between the visual image and narration: the narration fails to provide an exhaustive ekphrastic description of the image and evasively multiplies contradictory impressions of other characters about it instead.
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Ronquist, Eyvind. "Chaucer’s Provisions for Future Contingencies." Florilegium 21, no. 1 (2004): 94–118. http://dx.doi.org/10.3138/flor.21.009.
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In Chaucer’s narratives, people think about the future, and typically they find it uncertain. Quelle surprise! you exclaim ironically, since narrative requires suspense in the steps between beginning and ending, or otherwise it would become the exposition of a static, allegorical, universal grid. The uncertain steps of narrative might only be those of characters within a story, whereas the omniscient narrator would know the plot and is beguiling the reader. For Chaucer, however, uncertainty extends to the narrator, and what is reached by the ending is only a hypothesis. There is also a choice of narrators. The beguilement of the reader in the suspense of a story becomes confrontation with something like a real problem of choosing from past to future. Where there is a real problem, there may be various trials of possible solutions. Each plan has steps taken in a distinctive pattern, and we learn distinct and ingenious ways of conceiving of what we may do in the course of time. Thus, among Chaucer’s other works, the loose gathering of Canterbury Tales rehearses tales of divergent strategy and scope for which contentious individual narrators were further invented. I will particularly consider "The Nun’s Priest’s Tale," but add some observations about Troilus and Criseyde.
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Heath, Jane. "Moses' End and the Succession: Deuteronomy 31 and 2 Corinthians 3." New Testament Studies 60, no. 1 (2013): 37–60. http://dx.doi.org/10.1017/s002868851300026x.
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This essay argues that Deut 29–32, especially Deut 31, plays a significant role in 2 Cor 3, especially vv. 7–18: Paul's elusive allegorical narrative draws on Deuteronomic motifs of ‘closure’ (the end of Moses, of the law and of the Israelites); the national observance of reading the law and encountering the Lord face to face; and the succession of Moses by one named Ἰησοῦς in the LXX. This analysis extends scholarly discussion of Paul's use of Deuteronomy and contributes to the wider debate about Paul's use of scripture and his understanding of Jesus' relationship to Moses and the Mosaic covenant.
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Malsbary, Gerald. "Epic Exegesis and the Use of Vergil in the Early Biblical Poets." Florilegium 7, no. 1 (1985): 55–83. http://dx.doi.org/10.3138/flor.7.005.
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The Latin Christian biblical poets of late antiquity are customarily divided into two groups: a) those who keep rather strictly to a ’’paraphrase’’ of the scriptural narrative, and b) those who go "beyond paraphrase" in order to develop imaginative and dramatic interest or allegorical and typological commentary. Thus Juvencus and "Cyprianus" Gallus, the straightforward paraphrase-makers of the New and Old Testaments respectively, are set apart, usually with disparagement, from Proba, Sedulius, Victorius, Dracontius, Avitus, and Arator, the poets who are noted, and sometimes praised, for exercising a degree of poetic or exegetical freedom from the sacred text.
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Broncano Rodríguez, Manuel. "Cormac McCarthy's Grotesque Allegory in "Blood Meridian"." Journal of English Studies 5 (May 29, 2008): 31. http://dx.doi.org/10.18172/jes.119.
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Cormac McCarthy’s Blood Meridian (1985) is one of the major literary works of the twentieth-century. It is an opaque text whose interpretation poses great challenges to the critic. McCarthy deploys a complex narrative strategy which revisits the literary tradition, both American and European, in a collage of genres and modes, from the Puritan sermon to the picaresque, in which the grotesque plays a central role. One of the most controversial aspects of the novel is its religious scope, and criticism seems to be divided between those who find in the novel a theological dimension and those who reject such approach, on the grounds that the nihilist discourse is incompatible with any religious message. This essay argues that McCarthy has consciously constructed, or rather deconstructed, an allegorical narrative whose ultimate aim is to subvert the allegory, with its pattern of temptation-resistance and eventual salvation, into a story of irremediable failure.
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Virginás, Andrea. "Film genre patterns and complex narrative strategies in the service of authorship." Literatura i Kultura Popularna 24 (April 18, 2019): 25–37. http://dx.doi.org/10.19195/0867-7441.24.3.
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Film genre patterns and complex narrative strategies in the service of authorshipFrom the Euro-American canon of contemporary filmmaking a selection of films has been made, the directors of which transition from low-budget, arthouse, regional first features made in the years 1997–1998 mainly Cube and Pi, with occasional references to Run, Lola, Run and Following to big-budget, Hollywood-funded blockbusters presented in the years 2009–2010 Splice and Black Swan, occasionally referring to The International and Inception. Within this framework the issue of how generic patterns are used by these directors fond of narrative complexity is discussed. While in the debut features narrative complexity is the main issue, leading to a revisionist usage of sci-fi Natali and psychological thriller/horror Aronofsky, as well as action film Tykwer and noir detection film Nolan, in the 2009–2010 blockbusters narrative complexity is hidden behind apparently sincere generic imitation. This latter procedure, on closer inspection, reveals the allegorical recreation of genres as types as defined by Laetz and McIver Lopes in The Routledge Companion to Film and Philosophy. The aim is to examine narratively complex designs as tools in establishing the authorial names of these directors, based on their first features, with attention paid to the consistency of film genres referenced.
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Seo, Jeong-nam. "The Film 〈Snowpiercer〉 and Narrative Strategies of Director Bong Joon-Ho – Rhetoric of Characters with Allegorical Inclinations." Korean Literary Theory and Criticism 68 (September 30, 2015): 33. http://dx.doi.org/10.20461/kltc.2015.09.68.33.
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Gellér, Katalin. "« La musique nous accompagne du berceau à la tombe »." Studia Musicologica 54, no. 4 (2013): 443–54. http://dx.doi.org/10.1556/smus.54.2013.4.9.
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In 1881 Hungarian painter Mihály Zichy gave a pen drawing entitled Du berceau jusqu’au cercueil as a gift to Franz Liszt who was responsible for the musical education of Zichy’s daughter. Inspired by the drawing, Liszt composed the symphonic poem Von der Wiege bis zum Grabe / Du berceau jusqu’à la tombe (From the Cradle to the Grave). The first edition of the symphonic poem was illustrated by Zichy’s drawing. The painter later extended the subject with a number of narrative parts in order to illustrate those variety in which music can appear. This new graphic work Music Accompanies from the Cradle to the Grave was composed of consecutive and juxtaposed images associating film stills. He utilized this second variation in 1892 for planning the decoration of a concert hall in Saint Petersburg. In the shift from narrative to allegorical content these two graphic works together contain a hidden allegory of life and death.
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Baquero Goyanes, Mariano. "Las caricaturas literarias de Galdós." Monteagudo, no. 25 (September 30, 2020): 15–42. http://dx.doi.org/10.6018/monteagudo.445851.
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Benito Pérez Galdós poseía un talento excepcional para la caracterización de sus personajes. Destacan en su obra las descripciones caricaturescas. En este estudio se analizan las influencias que convergen en algunas de estas descripciones y la razón por la que Galdós incluye en novelas de índole e intención realista descripciones hiperbólicas y caricaturescas cercanas a lo irreal. Se concluye que son el reflejo de la fusión habitual en su narrativa entre lo mágico-alegórico y lo documental-realista, entre el sueño alucinante y la observación cotidiana. Benito Pérez Galdós had an exceptional talent for characterizing his characters. The caricaturesque descriptions stand out in his work. This paper analyzes the influences that converge in some of of these descriptions and the reason why Galdós includes hyperbolic and caricatural descriptions close to the unreal in novels of a realistic nature and intention. It is concluded that these descriptions are reflectect the usual fusión in his narrative between the magical-allegorical and the documentary-realistic, between the amazing dream and the daily observation.
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Smith, Elise Lawton. "Evelyn Pickering De Morgan's Allegories of Imprisonment." Victorian Literature and Culture 25, no. 2 (1997): 293–317. http://dx.doi.org/10.1017/s1060150300004800.
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Evelyn pickering De Morgan (1855–1919) produced a large body of work, primarily paintings but also some sculptural projects, during a career spanning half a century. The great majority of her images include women as protagonists, often as allegorical personifications but with an unusually wide range of characteristics. She created women as members of a constructed and often constraining civilization, who exhibit at times a sort of drooping resignation, but she also represented women as powerful natural elements, actively in control of their destinies. Her art stands out as an attempt to blend metaphysical concerns about material embodiment and spiritual transcendence, grounded in the Platonic ideal, with concerns about social constraints and creative freedom that can be interpreted from a feminist perspective. By translating these fundamental issues about what it means to be human and, more specifically, female into an allegorical language that was unusual for a woman artist of the period (in fact, called “imprudently ambitious” by one critic1), she moved beyond the socially accepted “female iconography” of still life, landscape, and domestic narrative. Overlapping and sometimes contradictory attitudes toward the roles of women can be traced in her oeuvre, particularly in a body of images related to the theme of imprisonment.
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Lee, Brian S. "Transforming the Vulgate: Comestor and the Middle English Genesis and Exodus." Mediaevistik 31, no. 1 (2018): 133–52. http://dx.doi.org/10.3726/med.2018.1.08.
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The article studies the literary or rhetorical effects of the transformation into plain narrative of biblical material originally compiled from different and often incomplete sources. Avoiding allegorical interpretations of the Bible’s theocentric history, Comestor in his “Historia Scholastica” and the Middle English poems based upon it, “Genesis and Exodus” and “Cursor Mundi,” sought to clarify difficult passages for the instruction and entertainment, rather than moral exhortation, of their for the most part unlearned, or illiterate, audiences. One result of their work was to fill or paper over lacunae and ambiguities that pique the curiosity of readers wanting to know more of the human stories implicit in the incidents described. Key passages in these texts will be examined.
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Clark, Gillian. "Adam’s Engendering: Augustine on Gender and Creation." Studies in Church History 34 (1998): 13–22. http://dx.doi.org/10.1017/s0424208400013541.
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In Confessions 13, Augustine discusses the right interpretation of the creation narrative in Genesis. His exegesis is allegorical, relating spiritual truth to its expression in the physical world. This physical expression was needed because Adam fell: All things are beautiful because you make them, and you who made all things are inexpressibly more beautiful. If Adam had not fallen from you, there would not have come forth from his womb [utero eius] that salt sea-water the human race, profoundly curious, stormily swelling, unstable and in flux, and so there would have been no need for your agents, in many waters, to perform mystic actions and sayings in the corporeal and perceptible mode.
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López-Ruiz, Carolina. "The God Aion in a Mosaic from Nea Paphos (Cyprus) and Graeco-Phoenician Cosmogonies in the Roman East." Archiv für Religionsgeschichte 21-22, no. 1 (2020): 423–47. http://dx.doi.org/10.1515/arege-2020-0022.
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AbstractThis essay offers a new interpretive angle on a fourth-century CE mosaic from Nea Paphos in Cyprus, in which the central panel depicts the god Aion presiding over the contest between Kassiopeia and the Nereids. The mosaic, which has other mythological scenes, two of them focused on Dionysos, has been interpreted in an allegorical Neoplatonic key or else as encrypting an anti-Christian polemic narrative. Here I propose that Aion and the other cosmogonic motifs in the panels, including the birth and triumph of Dionysos, point rather to Orphic and Phoenician cosmogonies, which in turn had a strong impact and reception among Neoplatonists and intellectuals of the Roman and late Roman Levant.
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Poisson-Gueffier, Jean-Francois. "L’énigme incarnée: Méliot de Logres dans le Haut Livre du Gral." Classica et Mediaevalia 69 (September 23, 2020): 95–117. http://dx.doi.org/10.7146/classicaetmediaevalia.v69i0.122174.
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The High Book of the Grail, also known as Perlesvaus, after its main character, an analogon of Perceval who evolves in a universe of blood and violence, is a French Arthurian prose romance of the 13th century. The principle of imperfection on which this romance is set encompasses its narrative composition, the consistency of its allegorical meaning, and the poetics of character. Meliot de Logres can be called an énigme incarnée, as its representation does not tend towards unity, but towards destruction. He is an enigma because of its numerous narrative functions (alter Christus, a man in distress, knight ...), and its symbolical power (he is ‘de Logres’, which suggests a moral signification, he embodies spiritual greatness that the romance does not develop). The semiological analysis of this secondary but important character is a way to understand the many problems aroused by the scripture of the High Book of the Grail. Meliot is not only a double: through him, we can see the complexity and intricacy of the romance as a whole.
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Aguirre, Manuel. "The Sovereignty of Wisdom: Boethius’ Consolation in the Light of Folklore." Mnemosyne 65, no. 4-5 (2012): 674–94. http://dx.doi.org/10.1163/156852512x585188.
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Abstract This article argues that Boethius’ Consolation can be read in a folklore key as an allegorical version of the Adventure of the Hero. The text has been the object of analysis often enough, but never, to the author’s knowledge, from the perspective proposed here. The article begins by discussing the shortcomings of certain critical positions regarding the identity of Philosophy. It then applies to the Consolation tools taken from the field of folklore studies—the narrative model proposed in Propp’s Morphology of the Folktale, and the thematic pattern of Sovereignty. Analysis in this light provides evidence that Philosophy is an embodiment of Sovereignty herself, a symbolic figure usually studied by Celtic and Scandinavian scholars, but one which demonstrably plays a key role in Classical literatures as well. This approach is shown to clarify several major aspects of Boethius’ text: the peculiar interplay of its metaphors, the role of Philosophy, the narrative structure within which she exists, and the significance of the various motifs and voice associated with her.
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Kolotvina, Olga V. "THE KEY FEATURES OF THE AESTHETIC OF J. VAL DEL OMAR’S AUTHOR CINEMA (ON THE CASE STUDY OF THE FILM TRILOGY “ELEMENTARY TRIPTYCH OF SPAIN”)." Articult, no. 1 (2021): 49–58. http://dx.doi.org/10.28995/2227-6165-2021-1-49-58.
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The author analyzed the symbolic narrative of the films and the cinematic technologies, which were developed by J. Val del Omar for his film trilogy. This study revealed that the use of the suggestive metaphorics of Spanish poetry (St. John of the Cross, F. García Lorca, Rosalía de Castro) and the artistic heritage of Spanish mysticism dominates in his film aesthetics. As a result, the film director created an allegorical multidimensional narrative about the stages of the spiritual path of a person and as well as about the specifics of the national spirit of the Spain’s different regions. Such a multi-layered artistic image was modeled by the film director with support of creatively transformed transmedia techniques, as well as through the introduction of mystical-surreal strategies, which were implemented in the associative montage of metaphorical images and in the reactualization of the country's folklore heritage. To complete implementation of this artistic program, called by the film director “mecha-mystiс”, he developed immersive innovative cinematic technologies of multi-screen film projection, “tactile vision” and “diaphonic sound”.
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Puriaeva, N. N. "Mythologem with a Snake: Constructing the Myth of Cavalry-Maiden." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 26, no. 4 (2020): 27–31. http://dx.doi.org/10.15826/izv1.2020.26.4.066.
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The article is dedicated to a narrative element that can be found in a number of texts featuring Nadezda Durova, we refer to it as an episode with a snake. The article hypothesizes that the episode is a mythologeme that has several meanings. Based on the results of the study, the following conclusions were made regarding the episode with a snake: it refers to an ancient Greek myth of Hercules’s childhood; it appears as an allusion to the biblical legend of the serpentadversary; it acts as an allegorical image of the enemy conquest. Thus, in the studied number of texts featuring Durova the episode with a snake acquires significance of a mythologem, which in the context of her story denotes the initiation of the heroine.
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Lothspeich, Pamela. "The Mahābhārata as national history and allegory in modern tales of Abhimanyu." Bulletin of the School of Oriental and African Studies 71, no. 2 (2008): 279–96. http://dx.doi.org/10.1017/s0041977x08000542.
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AbstractDuring a renaissance of Hindu mythology in the late colonial period, the Mahābhārata in particular was embraced as the essential account of the nation's ancient past. In the many literary retellings of the period, epic history is often recast as national history, even as the epic narratives themselves are inscribed with allegorical significance. Such is the case in the many poems and plays on the subject of Abhimanyu and his nemesis Jayadrath, including the most famous example in Hindi, Maithilisharan Gupta's narrative poem, Jayadrath-vadh (The slaying of Jayadrath, 1910). In this essay I situate Gupta's poem within the genre of paurāṇik or mythological literature and read the poem against the Abhimanyu-Jayadrath episode as found in the critical edition of the Sanskrit Mahābhārata to illustrate how Gupta both modernizes the poem and imbues it with nationalist ideology. I ultimately argue that Gupta's Abhimanyu is like a freedom fighter battling an imperial goliath, and his wife, Subhadra, a model for women dedicated to the cause. I also discuss some of the subsequent literature on Abhimanyu which was inspired by Gupta's classic work, and which also re-envisions the story in terms of contemporary political circumstances.
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Taleghani, R. Shareah. "VULNERABILITY AND RECOGNITION IN SYRIAN PRISON LITERATURE." International Journal of Middle East Studies 49, no. 1 (2017): 91–109. http://dx.doi.org/10.1017/s002074381600115x.
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AbstractConnecting the stories of human rights violations perpetrated by the Syrian regime against the children of Darʿa in March 2011 to decades of writings about political detention in Syria, this article argues that particular works of Syrian prison literature (adab al-sujūn) articulate a poetics of recognition that both reaffirms and challenges the foundational dependency on political recognition in human rights theory. By focusing on narrative scenes of recognition and misrecognition, I contend that these texts, much like the stories of the children of Darʿa, depict different forms of acute human vulnerability. In doing so, they offer a mode of sentimental education that evokes readers’ empathy and awareness of human suffering. Yet such texts also demonstrate, in allegorical form, how the foundational reliance on political recognition in human rights regimes can limit their efficacy.
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Wolfe, Jessica. "Spenser, Homer, and the Mythography of Strife*." Renaissance Quarterly 58, no. 4 (2005): 1220–88. http://dx.doi.org/10.1353/ren.2008.0987.
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AbstractThis article examines a central narrative and ethical motif of Edmund Spenser’sFaerie Queene —the golden chain—in the context of Spenser’s broader debts to Homeric epic. While largely neglected in favor of more immediate sources, such as Virgil’sAeneidand Tasso’sGerusalemme Liberata, the influence of Homer’sIliadandOdysseyis profoundly felt in Spenser’s mythography of strife. In its representation of the consequences of cosmological and spiritual strife,The Faerie Queenerealizes the classical and late antique allegorical tradition of interpreting Homeric epic as illustrative of the doctrines of pre-Socratic philosophers such as Heraclitus and Empedocles. Its moral landscape structured according to the oppositional yet complementary forces of love and strife, Spenser’s epic enacts the Homeric-Empedoclean epic of the allegorists so as to offer its own etiology of discord, one sympathetic with, but also distinct from, that of Homer.
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Martín, Oscar. "Love's Subjects: The Alhambra Ceilings, Sentimental Fiction and Allegory." Medieval Encounters 14, no. 2-3 (2008): 390–406. http://dx.doi.org/10.1163/157006708x366317.
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AbstractThis article analyzes the way in which allegorical and narrative motifs work in the fourteenth-century Alhambra ceilings and in fifteenth-century Castilian sentimental fiction. It argues that while the Alhambra ceilings, based on courtly allegory, convey a dignified statement concerning the potential of allegory to structure a political lesson while at the same time registering cultural assimilation and social crisis, allegory in sentimental fiction is problematized from the outset, showing that the genre's evolution renders allegory ineffective to account for love's subjectivity as it was attached to an outmoded courtly subjectivity. In this way, the painted ceilings of the Alhambra can be interpreted as a stage in the use of allegory in courtly context in the Iberian Peninsula within a larger group of works that make use of similar codes.
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Ameel, Lieven. "The Destruction of Amsterdam." Tijdschrift voor Nederlandse Taal- en Letterkunde 136, no. 4 (2020): 224–43. http://dx.doi.org/10.5117/tntl2020.4.003.amee.
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Abstract This article examines representations of urban destruction and of rising waters in Pieter Boskma’s Tsunami in de Amstel (2016) and in Guido van Driel’s De ondergang van Amsterdam (2007). It foregrounds the ways in which these texts reflect productively on visualisations and narrative frames of catastrophe, and how they propose alternative temporalities (in the case of Boskma) and alternative visual perspectives (in van Driel) for imagining possible urban end-times. At the background of this article is an increased tendency in ecocritical approaches to read representations of destructive climate change (in prose literature, in particular) in terms of their implications for understanding real-world radical climatological and environmental change. Such perspectives are complemented here with an examination of allegorical readings of flood in a poetry collection and graphic novel.
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Lecker, Robert. "Music in Michael Ondaatje’s Divisadero." Journal of Commonwealth Literature 54, no. 2 (2017): 273–91. http://dx.doi.org/10.1177/0021989417696123.
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Michael Ondaatje’s Divisadero uses musical references to enhance our understanding of how the story’s characters inhabit time and place. The book’s three parts unfold against a varied musical backdrop that can be experienced as a kind of soundtrack. Although musical allusions appear in Ondaatje’s earlier work, Divisadero is marked by its range of musical references, which run from classical compositions to jazz, opera to rock ’n’ roll, reggae to blues and British new wave. This article examines the way music directs us to see different narrative options in each of the novel’s three parts. One impulse behind the narrative is to connect us to the immediate, to locate the story in mimetic terms that are rooted in the California and Nevada settings that form the backdrop to the first part of the book. The musical references in this part serve to reinforce this sense of presence, as if history could be located and understood in terms of the themes and issues conveyed in particular songs. But another impulse is to work against the immediate, to cast the characters and their experiences as part of an allegorical universe in which actions and choices are symbolic, metaphoric, transhistorical.
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Staples, Jason A. "‘Rise, Kill, and Eat’: Animals as Nations in Early Jewish Visionary Literature and Acts 10." Journal for the Study of the New Testament 42, no. 1 (2019): 3–17. http://dx.doi.org/10.1177/0142064x19855564.
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Peter’s vision in Acts 10 ostensibly concerns dietary laws but is interpreted within the narrative as a revelation of God’s mercy towards the Gentiles, culminating in the baptism of Cornelius’ household. How this vision pertains to the immediately following events has remained a problem in scholarship on Acts. This article argues that the vision depends on earlier apocalyptic Jewish depictions of various nations as animals (and empires as hybrid beasts) and allegorical explanations of the food laws familiar in the Second Temple period in which the forbidden animals are understood as representing those peoples with whom Israel must not mix. What seems on the surface to refer to food is therefore naturally understood within this genre as a reference to nations and peoples. Acts 10 thus makes use of standard Jewish apocalyptic tropes familiar to its audience but less familiar to modern readers.
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Rood, Tim. "Political Thought in Xenophon: Straussian Readings of the Anabasis." POLIS, The Journal for Ancient Greek Political Thought 32, no. 1 (2015): 143–65. http://dx.doi.org/10.1163/20512996-12340041.
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The main aim of this paper is to discuss some influential approaches to political thought in Xenophon’s Anabasis within the field of Political Science, especially within the United States, where the influence of Leo Strauss’ writings on Xenophon has been powerful. It starts by discussing a number of features shared by these discussions, notably a strong idealisation of Xenophon’s wisdom and accuracy; a lack of interest in the conditions under which Xenophon wrote; a pro-Hellenic perspective; and a tendency to innovative (and often allegorical) literary explication. It then discusses the two most important themes treated by Strauss and his followers, Xenophon’s piety and philosophy and politics. It argues that Straussian exegesis introduces anachronistic conceptions while neglecting the narrative dynamics of the text. The final section sets out briefly some ways of exploring Xenophon’s relationship to other currents in Greek political thought.