Relevant bibliographies by topics / Allegorical representation

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

Academic literature on the topic 'Allegorical representation'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Allegorical representation"

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Sutandio, Anton. "The Politics of Religion in Sisworo Gautama Putra’s and Joko Anwar’s Pengabdi Setan." k@ta 21, no. 1 (2019): 24–32. http://dx.doi.org/10.9744/kata.21.1.24-32.

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This research compares two films, the original Pengabdi Setan and its remake, in the context of politics of religion to show how the two films depict the issue of religion at two different eras based on the released years of the two films. The display of religion in the two films is viewed as an allegorical representation as well as critical responses to the socio-political situation of the two eras. Separated by almost four decades, Joko Anwar’s nostalgic remake and the original film subtly converse with each other, share distinctive similarities yet also polarized differences that underlie their endeavor to allegorically bring back and relive public memory of certain national trauma; that is repression during the New Order regime and marginalization of the minority in contemporary Indonesia. By focusing on the films’ cinematography and mise-en-scene, this research attempts to locate those allegorical moments within the depiction of religious practice that challenge, criticize or accentuate the dominant ideology of their respective eras.
 
 Keywords: allegorical moment, religion, national trauma, politicization
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조일현. "Howards End: Allegorical Representation of an Integrated Vision." Jungang Journal of English Language and Literature 51, no. 3 (2009): 385–403. http://dx.doi.org/10.18853/jjell.2009.51.3.020.

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Lowenstein, Adam. "Cinema, Benjamin, and the allegorical representation of September 11." Critical Quarterly 45, no. 1-2 (2003): 73–84. http://dx.doi.org/10.1111/1467-8705.00473.

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Ronan, John. "“Young Goodman Brown” and the Mathers." New England Quarterly 85, no. 2 (2012): 253–80. http://dx.doi.org/10.1162/tneq_a_00186.

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“‘Young Goodman Brown’ and the Mathers” contends that Hawthorne's famous tale is an allegorical representation of Increase and Cotton Mather's agency in bringing about the Salem witch trials through their demonological publications.
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Wu, Guanda. "Mustache as Resistance: Representation and Reception of Mei Lanfang’s Masculinity." TDR/The Drama Review 60, no. 2 (2016): 122–38. http://dx.doi.org/10.1162/dram_a_00551.

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Mei Lanfang, the internationally renowned male player of female roles, astonished those who were concerned about his personal and professional well being during the Second Sino-Japanese War by growing a mustache. At the empirical level, the mustache signaled a dismissal of the androgynous glamour for which Mei’s body was best known. At the allegorical level, Mei’s wartime mustache foregrounded an unyielding and unmistakably masculine Chinese body.
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Koch, Julian. "“The False Appearance of Totality is Extinguished”: Orson Welles's The Trial and Benjamin's Allegorical Image." Film-Philosophy 23, no. 1 (2019): 17–34. http://dx.doi.org/10.3366/film.2019.0096.

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This article seeks to renegotiate Walter Benjamin's conception of allegory as an image that is a “fragment [… in which] the false appearance of totality is extinguished” ( 1998 , p. 176) in the context of Welles's The Trial. According to Benjamin, the allegorical image embodies its own limitations, displaying where its visuality falters. This article lifts Benjamin's notion of the allegorical image from its specific German Baroque discursive context and superimposes it onto the moving images of Welles's film. Welles's images in The Trial seem to perennially question their ability to meaningfully capture or represent the nature of the law. The faltering of the image is also apparent in Welles's use of cinematography, when offscreen space irrupts into Welles's images in unforeseeable ways, suggesting the powerlessness of the image over what is imposed upon it. In their displaying an absence of representation, Welles's images seem allegorical in Benjamin's sense.
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Samyn, Henrique Marques. "Alegoria e (anti)bucolismo: da clivagem entre a poesia pastoral greco-latina e as pastorelas alegóricas médio-latinas." Nuntius Antiquus 4 (December 31, 2009): 3–17. http://dx.doi.org/10.17851/1983-3636.4..3-17.

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In this article, we attempt to analyse the medieval Latin pastourelles in contrast with the pastoral poetry of the bucolic tradition. We analyse three pastourelles of the Carmina Burana, which in our interpretation have an allegorical meaning: Estivali sub fervore (CB 79), Lucis ordo sidere (CB 157) and Vere dulci mediante (CB 158); we argue that the concept of counter-pastoral as defined by Raymond Williams can be useful to understand the representation of the country in medieval Latin pastourelles, though some reevaluation is necessary. Our conclusion is that the absence of the real social conditions of country life in medieval Latin pastourelles is deeply related to its allegorical content.
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De Baecque, Antoine. "The Allegorical Image of France, 1750-1800: A Political Crisis of Representation." Representations 47 (1994): 111–43. http://dx.doi.org/10.2307/2928788.

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Baecque, Antoine De. "The Allegorical Image of France, 1750-1800: A Political Crisis of Representation." Representations 47, no. 1 (1994): 111–43. http://dx.doi.org/10.1525/rep.1994.47.1.99p0237m.

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Olesiejko, Jacek. "TREASURE AND SPIRITUAL EXILE IN OLD ENGLISH JULIANA: HEROIC DICTION AND ALLEGORY OF READING IN CYNEWULF’S ART OF ADAPTATION." Studia Anglica Posnaniensia 48, no. 2-3 (2013): 55–70. http://dx.doi.org/10.2478/stap-2013-0007.

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ABSTRACT The present article studies Cynewulf’s creative manipulation of heroic style in his hagiographic poem Juliana written around the 9th century A.D. The four poems now attributed to Cynewulf, on the strength of his runic autographs appended to each, Christ II, Elene, The Fates of the Apostles, and Juliana are written in the Anglo-Saxon tradition of heroic alliterative verse that Anglo- Saxons had inherited from their continental Germanic ancestors. In Juliana, the theme of treasure and exile reinforces the allegorical structure of Cynewulf’s poetic creation. In such poems like Beowulf and Seafarer treasure signifies the stability of bonds between people and tribes. The exchange of treasure and ritualistic treasure-giving confirms bonds between kings and their subjects. In Juliana, however, treasure is identified with heathen culture and idolatry. The traditional imagery of treasure, so central to Old English poetic lore, is inverted in the poem, as wealth and gold embody vice and corruption. The rejection of treasure and renunciation of kinship bonds indicate piety and chastity. Also, while in other Old English secular poems exile is cast in terms of deprivation of human company and material values, in Juliana the possession of and preoccupation with treasure indicates spiritual exile and damnation. This article argues that the inverted representations of treasure and exile in the poem lend additional strength to its allegorical elements and sharpen the contrast between secular world and Juliana, who is an allegorical representation of the Church.
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Dissertations / Theses on the topic "Allegorical representation"

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Mthatiwa, Syned Dale Makani. "Human-animal relationships and ecocriticism: a study of the representation of animals in poetry from Malawi, Zimbabwe, and South Africa." Thesis, 2011. http://hdl.handle.net/10539/10813.

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Ph.D. Faculty of Humanities, University of the Witwatersrand, 2011<br>This study analyses the manner in which animals are represented in selected poetry from Malawi, Zimbabwe and South Africa. It discusses the various modes of animal representation the poets draw on, and the ideological influences on their manner of animal representation. It explores the kinds of poetic forms the poets employ in their representation of animals and examines the manner in which ecological or environmental issues are reflected in the poetry. Further, the study determines the extent to which the values expressed in the poems are consistent with, or different from, current ecological orthodoxies and the ways in which the metaphors generated in relation to animals influence the way we treat them. The study shows that in the selected poetry animals occupy a significant position in the poets’ exploration of social, psychological, political, and cultural issues. As symbols in, and subjects of, the poetry animals, in particular, and nature in general, function as tools for the poets’ conceptualisation and construction of a wide range of cultural, political, and philosophical ideas, including among others, issues of justice, identity, compassion, relational selfhood, heritage, and belonging to the cosmos. Hence, the animal figure in the poetry acts as a site for the convergence of a variety of concepts the poets mobilise to grapple with and understand relevant political, social, psychological and ecological ideas. The study advances the argument that studying animal representation in the selected poetry reveals a range of ecological sensibilities, as well as the limits of these, and opens a window through which to view and appreciate the poets’ conception, construction and handling of a variety of significant ideas about human to human relationships and human-animal/nature relationships. Further, the study argues that the poets’ social vision influences their animal representation and that their failures at times to fully see or address the connection between forms of abuse (nature and human) undercuts their liberationist quests in the poetry.
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Books on the topic "Allegorical representation"

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Gordon, Colette, Daniel Roux, and David Schalkwyk. Shakespeare’s Tragedies in Southern Africa. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.49.

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This chapter discusses the place of Shakespeare’s tragedies in apartheid and post-apartheid South Africa. It begins with the imposition of apartheid in 1948 and Afrikaans Shakespeare; it goes on to look at Sol Plaatje’s Setswana translations of Shakespeare; and then considers rhetorical and allegorical treatments of Shakespearean tragedy in relation to Robben Island, Nelson Mandela, and Thabo Mbeki. This is followed by an account of the reception, in South Africa and abroad, of three landmark South African productions in the twentieth century: Janet Suzman’s Othello, Gregory Doran’s Titus Andronicus, and Welcome Msomi’s Umabatha. It concludes with a brief discussion of the representation of Africa in the Globe-to-Globe 2012 festival at Shakespeare’s Globe in London.
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Knapp, Ethan. John Gower’s Allegories. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199935338.013.59.

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This chapter examines the poetry of John Gower, with particular emphasis on his use of mechanical allegory. It considers what drew Gower to the mechanical side of things and argues that mechanical allegory is central to several of his most interesting solutions to problems of poetic representation. To support its argument, the chapter analyzes three of Gower’s works: Mirour de l’Omme, Vox Clamantis, and Confessio Amantis. It suggests that the Mirour exemplifies the significance of naming in the poetic project, along with its so-called voicing, whereas the Vox depicts a contrasting, sudden eruption of the deictic moment. Moreover, Gower seems to have been skeptical about the use of the dream vision as a framing device in Vox. The chapter concludes with a discussion of Confessio’s central allegorical mechanism, focusing on its use of statues to represent an object world caught between the quick and the dead.
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Watt, James. Orientalism and Hebraism. Edited by David Duff. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199660896.013.43.

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This chapter begins by showing how Sir William Jones used ‘Eastern’ poetry as a means of regenerating English literary culture and expanding its range, exemplified by his role in mediating Hindu mythology for his readers. While works by Coleridge, Shelley, and others responded to this stimulus, a tradition of allegorical verse romance pioneered by Landor used Eastern settings to reflect on the politics of the revolutionary era. Southey’s Thalaba the Destroyer extends the Jonesian project by confronting readers with ‘significant otherness’, while his later poem Roderick, the Last of the Goths dramatizes instead the purging of foreign contamination. The chapter juxtaposes Roderick with Byron’s The Giaour and examines Moore’s Lalla Rookh as a literary pastiche offering readers access to an appealing exotic East. It concludes with Walter Scott’s representation of his heroine Rebecca in Ivanhoe as a retrospect on Orientalism and Hebraism in the Romantic period.
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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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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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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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Neuwirth, Angelika. Locating the Qurʾan and Early Islam in the ‘Epistemic Space’ of Late Antiquity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198748496.003.0005.

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Locating the qur’anic event in Late Antiquity, understood not as a historical epoch but an epistemic space, the chapter focuses on textual strategies rather than on the transfer of semantic knowledge or extra-textual circumstances. Qurʾanic speech oscillates between literal and ‘allegorical’ expression. Among the last mentioned, typology, hitherto widely neglected—although perhaps the most representative textual practice in the late antique culture of debate—appears a useful key to the question of the qur’anic community’s rapid development of a theology of its own and its attainment of social coherence. Sifting the changing modes of qur’anic typology—from the ‘simple’ mode of restaging biblical events and the mimesis of biblical figures via the more demanding pattern of promise and fulfilment to the daringly innovative mode: mythopoiesis—allows us to trace the successive stages of the first listeners’ construction of a communal identity of their own.
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Majumder, Doyeeta. Tyranny and Usurpation. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786941688.001.0001.

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This book examines the fraught relationship between the sixteenth-century formulations of the theories of sovereign violence, tyranny and usurpation and the manifestations of these ideas on the contemporary English stage. It will attempt to trace an evolution of the poetics of English and Scottish political drama through the early, middle, and late decades of the sixteenth-century in conjunction with developments in the political thought of the century, linking theatre and politics through the representations of the problematic figure of the usurper or, in Machiavellian terms, the ‘New Prince’. While the early Tudor morality plays are concerned with the legitimate monarch who becomes a tyrant, the later historical and tragic drama of the century foregrounds the figure of the illegitimate monarch who is a tyrant by default. On the one hand the sudden proliferation of usurpation plots in Elizabethan drama and the transition from the legitimate tyrant to the usurper tyrant is linked to the dramaturgical shift from the allegorical morality play tradition to later history plays and tragedies, and on the other it is reflective of a poetic turn in political thought which impelled political writers to conceive of the state and sovereignty as a product of human ‘poiesis’, independent of transcendental legitimization. The poetics of political drama and the emergence of the idea of ‘poiesis’ in the political context merge in the figure of the nuove principe: the prince without dynastic claims who creates his sovereignty by dint of his own ‘virtu’ and through an act of law-making violence.
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Book chapters on the topic "Allegorical representation"

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Mielnik, Magdalena. "Delusive riches: allegorical representations of Gdan´sk in art at the end of the 16th and in the first half of the 17th century." In Arts, Portraits and Representation in the Reformation Era. Vandenhoeck & Ruprecht, 2019. http://dx.doi.org/10.13109/9783666552496.61.

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Navarro-Ayala, Luis. "Rachid O.’s Homosexual Awakening: The Allegorical Representation of the Blond-Haired, Blue-Eyed French Boy." In Queering Transcultural Encounters. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92315-4_6.

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Silberman, Marc. "What’s New? Allegorical Representations of Renewal in DEFA’s Youth Films, 1946–1949." In German Postwar Films. Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230616974_7.

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Baert, Barbara, and Liesbet Kusters. "The Tree as Narrative, Formal, and Allegorical Index in Representations of the Noli me tangere." In The Tree. Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.imr-eb.1.102026.

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Lerner, Ross. "Allegorical Fanaticism." In Unknowing Fanaticism. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823283873.003.0002.

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Chapter 1 turns to Spenser’s use of allegory to represent the ambiguous fanatical transformation of person into divine instrument. If allegory in The Faerie Queene works by analysis, parsing complex motives and essences into their discrete parts, fanaticism proposes an undifferentiated divine violence that threatens to obliterate allegory’s distinctions. Reading The Faerie Queene as an engagement with fanaticism demonstrates that the poem is fundamentally uneasy with divinely inspired action. If, in Book I, The Faerie Queene momentarily achieves an allegorical representation of Redcrosse as an “organ” of divine might, the poem grows progressively more worried about its capacity to distinguish between true instruments of the divine and false prophets like the Anabaptist Giant of Book V. Representations of fanaticism in the poem suggest that allegory in its purest form, void of all difference, may itself be a form of fanaticism, the emptying out of a character so that it might incarnate divine will.
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Wohl, Victoria. "The Politics of Political Allegory." In Euripides and the Politics of Form. Princeton University Press, 2015. http://dx.doi.org/10.23943/princeton/9780691166506.003.0005.

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This chapter reads Suppliants, focusing on the form of its allegory and allegory as a tragic form. If all tragedy is inherently allegorical, as historicist scholarship assumes, Euripides turns this generic feature into a resource for thought. His experiment in mimetic compression allows him to explore the nature of tragic mimesis as a mode of representation, both aesthetic and political. The mimetic form itself becomes a kind of theoretical content: the doubleness of allegory offers not only a means of saying one thing through the vehicle of another, but also a way of thinking about the relationship between vehicle and tenor, tragedy and politics. By heightening tragedy's inherent allegorical potential, Suppliants challenges our historicist presuppositions, forcing us to rethink tragedy's role in and relation to the city and the possibilities and paradoxes of “political tragedy.”
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Christie, Ian. "A Life on Film." In Mapping Lives. British Academy, 2004. http://dx.doi.org/10.5871/bacad/9780197263181.003.0017.

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During the twentieth century, the concept of ‘total’ representation emerged as an equivalent to Noël Burch's ‘Frankenstein complex’. ‘Total’ representation has taken on the form of omnipresent surveillance, using an all-powerful system or state in a technological extrapolation of the panopticon of Bentham. This chapter discusses the possible relationship – if any – between the exponential rise of audiovisual recording and the development of biography. It is argued that there are closer links between the early twentieth-century revolution in biography and the rise of cinema than might be supposed. The chapter also tries to show that the meaning of biographical film cannot be reduced to simplistic canons of accuracy, since these are more typically allegorical.
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Ayyıldız, Nilay Erdem. "A Representation of British Gendered Imperial Politics in Fiction for Children." In Advances in Linguistics and Communication Studies. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-9444-4.ch003.

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The chapter explores the gendered imperial politics in short fiction for children through analyzing “The Mowgli Stories” and “Rikki-Tikki-Tavi,” selected from nineteenth-century colonialist author Rudyard Kipling's The Jungle Book (1894). The reason for the selection of the stories is that they have not attracted the interest they deserve as products and perpetuators of the gendered imperial ideology. The chapter asserts that they both reflect the British concerns about the future potential Indian rebellions after the Mutiny of 1857 and applaud the faithful colonizing Indians' struggle against the rebellious ones through masculinist power of body and language. The stories narrate the masculinized bodily actions of the double outsider animalized characters involved in violence after the rebellion of one of them in colonial India. Thus, the chapter indicates the author's response to the mutiny through the techniques empowering masculinized imperialism in allegorical fiction for children.
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Pavlinov, Pavel. "Тема России, объединяющей народы, в проектах монументальной живописи Евгения Лансере." In Taking and Denying Challenging Canons in Arts and Philosophy. Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-462-2/005.

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This article discusses how the canon of the allegorical representation of Russia evolved. Formed in the eighteenth century by Western European masters, it was revised by Eugene Lanceray between 1915 and 1916 in his projects for the ceiling at the Kazan railway station in Moscow. In the 1920s, both the new leadership and the youth rejected the attempts to use old iconography. Thus, in the early 1930s, a new canon showing the USSR as a country that unites workers of different backgrounds appeared. It was used in the Palaces of Culture until the 1950s. Moreover, in 1945 Lanceray proposed a new allegory for peace in the image of a Russian woman with a child, which was later transformed into different versions of the allegory of the Motherland.
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Maciver, Calum. "Parody, Symbol and the Literary Past in Lucian." In Greek Laughter and Tears. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474403795.003.0004.

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Laughter and the elicitation of laughter in Lucian are dependent principally upon the paideia which his readers require in order to unravel fully the complexity of his literary allusion and satire. Through analysis of key satirical passages in the True Histories, the Charon, the Icaromenippus and the Nigrinus, this chapter demonstrates that Lucian, and his readers, laugh at the history of interpretation, both philosophical and literary. It delves into the literariness of Lucian’s satire, and in particular his representation of the literary past as a lens for laughing at the less educated. Lucian parodies historiographical and philosophical accounts of the moon in the lunar voyages in the True Histories and Icaromenippus, undercuts allegorical accounts of the cosmos in the Charon, and proves the absurdity and shallowness of contemporary Roman pretentions of Greek paideia in the Nigrinus by parodying the pseudo-learning so much on display.
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