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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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Capello, Ernesto. "Mapping Mountains." Brill Research Perspectives in Map History 2, no. 1 (2020): 1–84. http://dx.doi.org/10.1163/25893963-12340003.
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Abstract Mountains appear in the oldest known maps, yet their representation has proven a notoriously difficult challenge for map makers. This essay surveys the broad history of relief representation in cartography with an emphasis on the allegorical, commercial and political uses of mapping mountains. After an initial overview and critique of the traditional historiography and development of techniques of relief representation, the essay features four clusters of mountain mapping emphases. These include visions of mountains as paradise, the mountain as site of colonial and postcolonial encounter, the development of elevation profiles and panoramas, and mountains as mass-marketed touristed itineraries.
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Bilbrough, Paola. "Opening Gates and Windows." Departures in Critical Qualitative Research 3, no. 3 (2014): 298–313. http://dx.doi.org/10.1525/dcqr.2014.3.3.298.
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In this essay I discuss the ethical and aesthetic issues involved in making a short auto/biographical documentary, Separation, about an improvised parenting relationship I had with a young Sudanese-Australian man. I contextualize my discussion through reference to representations of Sudanese-Australians in the media, and the tendency towards reductive allegorical representations. I propose that a poetic approach offers a possible way forward in representing aspects of life stories involving shared privacies and/or sensitive cultural material. This suggests important scholarly consideration of an ethics that is specific to visual representation or video/film methods. Such a consideration is applicable both to contexts in which the central concern is an art product or event, and in which the primary concern is research.
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Maher, Michael J. "Flora, Fauna, and Marsilio Ficino in Luigi Pulci’s Morgante." Forum Italicum: A Journal of Italian Studies 51, no. 1 (2017): 203–17. http://dx.doi.org/10.1177/0014585817691957.
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This study identifies an allegorical representation of the polemic between vernacular poet Luigi Pulci and Neoplatonic philosopher Marsilio Ficino within Pulci’s epic poem Il Morgante. Pulci’s critique of Ficino’s cultural-philosophical program may be deduced from the treatment of flora and fauna in two equine scenes from Pulci’s masterpiece. Twice in the Morgante, Rinaldo’s charger Baiardo is commandeered: first by the benevolent wizard Malagigi in canto 5, and then by the devil-theologian Astarotte in canto 25. In canto 5, Malagigi respects nature’s limits as determined by God and delineated by Pulci in canto 24. In canto 25, Astarotte’s powers and his treatment of plant and beast trump nature’s limits. Astarotte’s oration of Ficino’s philosophy from the De Christiana religione facilitates an allegorical identification of Marsilio Ficino and Pulci’s critical voice. Through this allegorical reading, tangible examples are applied to abstract conflicting cultural-philosophical programs. The Pulci-Ficino polemic is a valuable lens through which one may further comprehend the cultural complexities of Laurentian Florence, a time and place at the forefront of the Italian Renaissance.
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Glăvan, Gabriela. "Old Age as Massacre: Philip Roth’s Elegies of Aging in Everyman and American Pastoral." Romanian Journal of English Studies 17, no. 1 (2020): 16–21. http://dx.doi.org/10.1515/rjes-2020-0003.
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Abstract I intend to explore Philip Roth’s representation of aging in his 1997 novel, American Pastoral, and in the allegorical, medical life story of his generic hero, Everyman (2006). My arguments connect the writer’s constant preoccupation with the biological life of the body and the cultural significance of aging, divergently projected in these two novels.
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Ebury, Katherine. "Nonhuman Animal Pain and Capital Punishment in Beckett’s “Dante and the Lobster”." Society & Animals 25, no. 5 (2017): 436–55. http://dx.doi.org/10.1163/15685306-12341454.
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This article offers a fresh examination of the representation of nonhuman animals in Beckett’s early aesthetics, using “Dante and the Lobster” as a case study. Beckett’s story is illuminated by historical documents including newspaper articles, which will allow readers to see more clearly the deliberate parallels drawn between the question of the lobster’s suffering and the planned execution of a criminal that Belacqua contemplates throughout the day. An alternative reading model of the text, focusing on the Joycean concept of parallax rather than the Dantean concept of pity, will be developed. The article closes by examining Beckett’s views on allegorical readings of texts containing representations of nonhuman animals and his later notes on E. P. Evans’s 1906 work,The Criminal Prosecution and Capital Punishment of Animals.
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Richards, Earl Jeffrey. "Erich Auerbach's Mimesis as a Meditation on the Shoah." German Politics and Society 19, no. 2 (2001): 62–91. http://dx.doi.org/10.3167/104503001782385625.
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Within the enormous body of critical writings dedicated to literaryworks devoted to the Shoah, the possibility of its very representationand the problems arising in the potential deformation of memoryare frequent topics. In light of these issues, it might be helpful toexamine a well-known work of literary scholarship, Erich Auerbach’sMimesis, The Representation of Reality in Western Literature, writtenbetween May 1942 and April 1945, as a potentially overlookedexample of a highly sublimated allegorical meditation on the contemporarymurder of Europe’s Jews. Auerbach’s classic work, whichexplicitly takes literary representation as its central theme, seems touse carefully and subtly selected examples from western literature asfigures for current events.
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King, John N. "The Godly Woman in Elizabethan Iconography." Renaissance Quarterly 38, no. 1 (1985): 41–84. http://dx.doi.org/10.2307/2861331.
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Emblematic figures of godly and faithful women proliferate throughout the literature of the English Renaissance and Reformation. Characteristically they hold books in their hands symbolic of divine revelation, or they appear in books as representations of divine inspiration. While such representation of a pious feminine ideal was traditional in Christian art, Tudor reformers attempted to appropriate the devout emotionality linked to many female saints and to the Virgin Mary, both as the mother of Christ and as an allegorical figure for Holy Church, providing instead images of Protestant women as embodiments of pious intellectuality and divine wisdom. Long before the cult of the wise royal virgin grew up in celebration of Elizabeth I, Tudor Protestants began to praise learned women for applying knowledge of the scriptures to the cause of church reform.
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Valentino, Russell S. "The Word Made Flesh in Dostoevskii’s Possessed." Slavic Review 56, no. 1 (1997): 37–49. http://dx.doi.org/10.2307/2500654.
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Among the most prominent generic signals of Dostoevskii’s The Possessed are those suggesting allegory. Allegory is one of several genres in the novel referred to by name. The narrator characterizes Stepan Trofimovich’s romantic poema as “some sort of allegory” (9) and remarks that, after the most intimate of encounters with his patroness, Stepan Trofimovich would sometimes “jump up from the couch and beat the wall with his fists,” all of which “without the slightest allegory“ (12). Concerning the climax of Iuliia Mikhailovna’s soirée, an allegorical representation of the various literary schools and tendencies of the day, the narrator reports, “It would have been difficult to imagine a more pitiful, tactless, talentless, and vapid allegory than that ‘literary quadrille’” (389). On a more fundamental level, the work’s second epigraph, the passage from the Gospel of Luke describing the exorcism of a possessed man and the flight of the demons into a herd of swine, provides an allegorical foundation for the entire action, projecting the work against biblical history.
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A.V., Bezrukov. "EMBLEMS IN EIDOLOGY OF METAPHYSICAL POETRY: ALLEGORICAL REPRESENTATION OF REALITY VS MYSTERIOUS SIGNS OF LIFE." South archive (philological sciences), no. 82 (September 4, 2020): 46–51. http://dx.doi.org/10.32999/ksu2663-2691/2020-82-7.
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Meier, Bernhard. "Rhetorical Aspects of the Renaissance Modes." Journal of the Royal Musical Association 115, no. 2 (1990): 182–90. http://dx.doi.org/10.1093/jrma/115.2.182.
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The ‘rhetorical’ character of Renaissance music – or, more precisely, of the vocal music of that period – is generally well known. Briefly: the musical segmentation of every vocal composition of that period is determined by the syntactic division of its text; each individual word that is suited to musical ‘translation’ not only renders this quasi-allegorical representation possible, but absolutely requires it; and the ability to discover such ‘allegories’, to apply them appropriately and thus to enrich the expressive vocabulary of music was regarded as the chief measure of the competence of a composer.
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Smout, Caroline. "Allegorische Diagrammatik und diagrammatische Allegorisierung. Erkenntnisprozesse in einem allegorischen Ikonotext der ‚Regia Carmina‘ des Convenevole da Prato." Das Mittelalter 22, no. 2 (2017): 392–405. http://dx.doi.org/10.1515/mial-2017-0023.
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AbstactSubject of this essay is the question of how the invisibility of God can be visualized. The ‘Regia Carmina’ of Convenevole da Prato (London, British Library, Royal 6 E IX) serves as an example. They are designed through allegorical iconotexts. Convenevole’s reflection consists basically of a mental image and a painted picture. This essay deals with two questions: 1) How are the mental image and the painted picture arranged to initiate a thought process regarding the relation of the painted picture to God in a diagrammatic transfer? The thought process aims to gain knowledge about the figurative representation of God. 2) Is the iconotext only modelled as a medium of insight or can it also be seen as a figure of reflection of a diagrammatic way of thinking, in which the possibilities and limits of pictorial and verbal signs are defined? In this example the fundamental and productive connection of allegorical and diagrammatic method becomes apparent. On the one hand the diagrammatic way of thinking is influenced by allegory. On the other hand the process of allegorisation that is based on a diagrammatic point of view becomes evident.
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Lewis, Carol W. "Visions of Good Governance: Through Artists’ Eyes." Public Voices 13, no. 1 (2016): 1. http://dx.doi.org/10.22140/pv.48.
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This article is designed for teaching about the importance of culture for transmitting ethical norms and beliefs. The focus is on the link between ethical behavior and political power and the allegorical representation in popular culture of ethics as a battle between good and evil. Public art most often supports the ruling regime and is intended to underwrite the rulers’ ideology and legitimacy. Three sets of murals spanning six centuries illustrate how public art communicates the epoch’s authoritative view of the ethical foundations of good governance and, conversely, the immoral basis and undesirable consequences of bad governance.
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Behrmann, Carolin. "Metrics of Justice." Nuncius 30, no. 1 (2015): 161–94. http://dx.doi.org/10.1163/18253911-03001007.
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This paper examines a polyhedral dial from the British Museum made by the instrument maker Ulrich Schniep, and discusses the status of multifunctional scientific instruments. It discerns a multifaceted iconic meaning considering different dimensions such as scientific functionality (astronomy), the complex allegorical figure of Justice (iconography), and the representation of the sovereign (politics), the court and the Kunstkammer of Albrecht V of Bavaria. As a numen mixtum the figure of “Justicia” touches different fields that go far beyond pure astronomical measurement and represents the power of the ruler as well as the rules of economic justice.
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Yarza, Alejandro. "Bahía de Palma/Palma Bay (Bosch 1962): An allegory of late Francoism." Studies in Spanish & Latin American Cinemas 17, no. 3 (2020): 351–75. http://dx.doi.org/10.1386/slac_00026_1.
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Famous for having been the first Spanish film to feature the Franco-banned bikinis, Bahía de Palma/Palma Bay (Bosch 1962) is generally seen as a frivolous footnote in the history of Spanish cinema, but it is also a pioneering aperturista film, that deserves closer examination as the blue print for late Francoist cultural productions of the 1960s and beyond. This article argues that Bahía de Palma is a veiled allegorical representation of the social and political contradictions that characterized Spain’s reintegration into the international world order after the dark and disastrous period of international isolation during the 1940s and early 1950s.
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Brace, Patricia. "Speaking Pictures: Margaret Roper and the Representation of Lady Rhetoric." Moreana 50 (Number 193-, no. 3-4 (2013): 93–130. http://dx.doi.org/10.3366/more.2013.50.3-4.8.
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In the first quarter of the sixteenth century, a woodcut featuring a young woman at a desk, facing an audience of smaller figures, appears in five books, all printed by, or with a connection to, Wynkyn de Worde. In four of these, first printed between 1504 and 1512, the image is explicitly linked to figures associated with rhetoric and/or powerful female speech. In the fifth instance, the title page of Margaret Roper’s Erasmian translation, A Devout Treatise Upon the Pater Noster (1526?), the moment at which the associated text is produced by a woman famed for her rhetorical skill, the image appears altered, with the audience cropped from the frame. What may be argued from this change is first, that, as print historians increasingly agree, while woodcuts travel fairly freely among early printed books, they do bear some relation to either the work itself or the context in which it is produced. Second, that when faced with a non-allegorical Lady Rhetoric, tensions around female speech and agency reach a literal breaking point with a physical alteration of the woodcut that undermines both the tradition of the figure and its more recently-imagined functions.
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ACUÑA, MARIA VIRGINIA. "LOVE CONQUERS ALL: CUPID, PHILIP V AND THE ALLEGORICAL ZARZUELA DURING THE WAR OF THE SPANISH SUCCESSION (1701–1714)." Eighteenth Century Music 15, no. 1 (2018): 29–45. http://dx.doi.org/10.1017/s1478570617000380.
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ABSTRACTAn unprecedented shift in the portrayal of Cupid took place in the Spanish mythological zarzuela during the years surrounding the War of the Spanish Succession (1701–1714). For the first time ever, Cupid was depicted not as a god of chaste or erotic love, but as a god at war with other deities. And in every work, a female actor-singer, not a male performer, played the fiery but mournful character. In this article I first explore the cultural understanding of Cupid in early eighteenth-century Spain as articulated by Spanish mythographers of the era, and as seen in the earliest representations of Cupid in Spanish theatre. I then investigate the intersection of myth, allegory, war and music theatre in a case study – the zarzuela Las nuevas armas de amor (Love's New Weapons, 1711) – suggesting that in this work Cupid functioned as an allegorical representation of the Spanish king, and that the deity's struggles for power mirrored the monarch's plight during a time of great political instability. Moreover, I argue that the pre-existing local theatrical practice of cross-dressing allowed for the portrayal of a defeated and sobbing Cupid in the zarzuela.
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Lavery, Carl, Deborah P. Dixon, and Lee Hassall. "The Future of Ruins: The Baroque Melancholy of Hashima." Environment and Planning A: Economy and Space 46, no. 11 (2014): 2569–84. http://dx.doi.org/10.1068/a46179.
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Here, we present an iteration of our theoretical/creative writing project Hashima, begun in 2012. The paper is a collaboration and draws on the different discourses, practices and sensibilities of a performance theorist, a geographer, and a visual artist. For us, Hashima, located off the coast of Nagasaki, Japan, and a former site of forced labor and intensive offshore coal-mining, is a provocation for experimentation. Hashima, exploited and abject, has offered itself, unsurprisingly, to the fetishistic gaze of artists, photographers urban explorers, and ruin enthusiasts. The logic here is to control representation, and to determine and fix the meaning of the island as always in reference to something else and elsewhere. Paradoxically, there is no sense of temporality or transformation in these representations of ruins; time has been stopped in an image. By contrast, we want to draw out the allegorical value of Hashima not as a site of loss, but as a baroque, blasted landscape of monstrous becomings that resists, and forefronts, this tendency to collapse history into nature. In the following, we introduce the island before turning to an exegesis of Walter Benjamin's writing on German baroque tragedy in order to demonstrate how representation itself becomes tainted through a material encounter with the baroque's two primary topoi, the ruin and the labyrinth. To do this, we finish with a creative narrative and two images illustrating our methodology.
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Baker, Charlotte. "Angry laughter: Postcolonial representations of dictatorial masculinities." International Journal of Francophone Studies 22, no. 3 (2019): 233–49. http://dx.doi.org/10.1386/ijfs_00003_1.
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Abstract Focusing on the representation of the masculinity of dictator figures in Cheik Aliou Ndao's Mbaam dictateur (1997) and Baba Galleh Jallow's Angry Laughter (2004), this article explores the imbrication of social realities, power structures and literary expression that characterizes these texts as dictator-novels. It considers the writers' reappropriation of the border between animal and human as a means by which to level an allegorical political critique in the guise of a fable. In so doing, it emphasizes their representation of the hypermasculine body of the dictator and its centrality to emerging nation states that are defined by class and ethnic relations. Finally, its focus turns to the importance of voice to examine the aesthetic of these two dictator-novels, which is of equal importance to our understanding of these texts as their thematic representation. The article thus takes these two literary works as case studies for the dictator-novel at the turn of the twenty-first century to examine the ways in which African writers use the dictator-novel to express the disenchantment of citizens with the long and faltering process of decolonization that, in many countries across Africa, had seen the emergence not of an ideal postcolonial democracy, but instead of a de-humanizing neo-colonial autocracy.
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Chalupa, Petr. "The Tabernacle in the Sun? The Sun as an Allegorical Representation of God in Ps 18:5c LXX." Studia theologica 16, no. 2 (2014): 64–69. http://dx.doi.org/10.5507/sth.2014.018.
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Shtalenkova, K. I. "THE GOLDEN STANDARD OF THE NATION: THE SIGNIFICANCE OF PERSONIFICATIONS IN THE DESIGN OF NATIONAL CURRENCIES IN EASTERN EUROPE." UKRAINIAN CULTURAL STUDIES, no. 2 (7) (2020): 81–86. http://dx.doi.org/10.17721/ucs.2020.2(7).15.
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This article investigates the significance of personifications depicted on national currencies of Eastern Europe in the 19th – 21st cent. Eastern Europe is considered as a region of high research potential due to its status of borderland space with active symbolic struggle on political, socioeconomic and cultural levels. Currency design is an ideological tool that defines collective cultural tradition and historical memory, while national narratives vary in their response to the conditions of their formation. Basing on the visual analysis of money that circulated on the territories of Belarus, Lithuania, Poland, Russia and the Ukraine, the author outlines main categories of human depictions used in the currency design of the states that emerged in the region during the mentioned period. In the 19th cent., most widespread were money of the Russian Empire featuring the emperors and state representation Mother Russia. After the October Revolution in 1917, new states emerged in the region, but no personifications were used in their currency design. Human depictions of that time featured either ordinary people correlating with socialist movements or notable persons denoting political and cultural authenticity of certain state. Another category of human depictions was allegorical feminine figures representing patriarchal values and reproductive resources. Most remarkable examples of this type are Polish coins depicting state representation Polonia (or queen Jadwiga) as well as Polish banknotes with Mother Poland and national heroine Emilia Plater, both issued during the dictatorship of Jósef Piłsudski. Contemporary issues of money use no state representations, preferring instead either notable people, mostly men among them, or introducing other means of cultural representations not related to human depictions. Thus state representations used in the designs of national currencies become less popular in the 21st cent. due to globalisation and de-materialisation of money.
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Ayanee, Aneesa. "Istanbul as Palimpsest: The Black Book as a Postmodernist Representation of Turkish History and Culture." SMART MOVES JOURNAL IJELLH 9, no. 2 (2021): 158–67. http://dx.doi.org/10.24113/ijellh.v9i2.10918.
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Orhan Pamuk’s novel, The Black Book is a postmodern chronicle of Turkey in which the author uses the structure of a detective novel to delineate the themes of identity, culture and hybridity. The paper aims to depict how Pamuk foregrounds that identities are never determinate but are forever eluding by presenting a love triangle which disappears underneath a mystical quest for one’s true self. Galip’s assuming the persona of his alter-ego, Celal; Prince Osman’s pursuit of true knowledge through reading diverse books and ultimately rejecting them; and Bedii Usta’s disillusion with the State for disapproving the mannequins, all represent the interlacing of cultures and interdependence of identities in contemporary Turkey. Moreover, in the novel, the rich Ottoman tradition and Islamic literature are also revisited in a postmodern light so as to present the allegorical and political connotations inherent in them. The paper also examines how the novel portrays the forced westernization and erasure of history and memories through the use of film ekphrasis to highlight how the Turkish citizens were lured by the Western cinema and indoctrinated about the superiority of the West so as to generate in them a sense of anxiety about their identities.
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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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Buylaert, Frederik, Jelle De Rock, and Anne-Laure Van Bruaene. "City Portrait, Civic Body, and Commercial Printing in Sixteenth-Century Ghent." Renaissance Quarterly 68, no. 3 (2015): 803–39. http://dx.doi.org/10.1086/683852.
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AbstractThis article discusses a woodcut series with an elaborate iconographic representation of the Flemish city of Ghent, printed in 1524 by Pieter de Keysere. The three-sheet composition consists of a city view, an image of the allegorical Maiden of Ghent, and an extensive heraldic program with the coat of arms of prominent Ghent families and of the Ghent craft guilds. The print series’ production and consumption are unraveled and framed within the wider debate on civic religion in Renaissance Europe. The main argument is that while in this region of Northern Europe civic ideology was equally strong as in Italy, it was not the exclusive playground of the ruling elites. Pieter de Keysere’s woodcut series was aimed at a socially broad, local audience, most particularly Ghent’s corporate middle groups.
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Tosi, Alessandro. "Tennis in Early Modern Visual Culture." Nuncius 28, no. 1 (2013): 85–114. http://dx.doi.org/10.1163/18253911-02801006.
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Taking as its departure point the celebrated passage in Galileo’s Dialogo sopra i due massimi sistemi del mondo on the game of pallacorda, this paper is an invitation to re-read the ample visual documentation on the game, on its perception and its representation in early modern Europe. In fact, prints and paintings produced between the end of the sixteenth and the middle of the seventeenth centuries testify to the vast and complex panorama of themes and motifs which marked the development of the imagerie linked to games (in particular, its allegorical dimension), and to tennis as its most noble expression. The metaphor conceived by Galileo and the interest of other scientists in games as a source of models and illustrative examples can be seen as part of a broader cultural and social sensibility in which games played a central role.
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Mohammad, Sumaya Alhaj, and Dania Meryan. "Ghassan Kanafani’s Returning to Haifa: tracing memory beyond the rubble." Race & Class 61, no. 3 (2019): 65–77. http://dx.doi.org/10.1177/0306396819885248.
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This article argues that Ghassan Kanafani in his 1969 work Returning to Haifa portrays a new conception of home as a postcolonial site that transcends the physicality of geography to create a new collective fluid memory. Kanafani’s narrative explores the chasm between the imaginary or utopian territory that exists simply in the memory of the indigenous people, and the real site which exists geographically, and how this makes ethical representation of the traumatised subject virtually impossible/an impossibility. Kanafani’s allegorical journey of Returning to Haifa records the bruised memory of the Palestinian refugees, and reveals a desire to recreate a protean memory for this traumatised people so as to transform them from the state of victimhood to that of resistance. Hence, the three physical sites explored here: body, land and text are opened to the processes of becoming.
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Carter, Matthew. "The Perpetuation of Myth: Ideology in Bone Tomahawk." Zeitschrift für Anglistik und Amerikanistik 68, no. 1 (2020): 21–35. http://dx.doi.org/10.1515/zaa-2020-0004.
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AbstractThe contemporary Western Bone Tomahawk is in the tradition of the settler-versus-Indian stories from the genre’s ‘classical’ period. Its story is informed by one of white America’s oldest and most paranoiac of racist-psychosexual myths: the captivity narrative. This article reads Bone Tomahawk’s figuration of the racial anxieties that inhere within nineteenth-century settler-colonial culture in the context of post-9/11 America. It also considers that the film’s imbrication of Horror film conventions into its essential Western framework amplifies its allegorical representation of contemporary America’s cultural and political-ideological mindset. As well, the use of Horror conventions amplifies the racial anxieties generated by its use of a mythic binary construct of an adversarial relationship between whites and ‘Indians.’ To a lesser extent, the article suggests that the film also embodies certain uncontained ideological contradictions that, though undeveloped, could be said to contest its ideological coherence.
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Lesjak, Carolyn. "Difference Relates: Allegory, Ideology, and the Anthropocene." Historical Materialism 29, no. 1 (2021): 123–33. http://dx.doi.org/10.1163/1569206x-12342001.
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Abstract Fredric Jameson’s recent book, Allegory and Ideology, argues that allegory has become a ‘social symptom’, an attempt during moments of historical crisis to represent reality even as that reality, rife with contradictory levels, eludes representation. Mobilising the fourfold medieval system of allegory he first introduced in The Political Unconscious, Jameson traces a formal history of attempts to come to terms with the ‘multiplicities’ and incommensurable levels that emerge within modernity and postmodernity. This article identifies the complexities of Jameson’s understanding of allegory and draws on the brief moments when Jameson references the Anthropocene to argue for an allegorical reading of our contemporary environmental crisis that would allow us to see the problem the Anthropocene names as truly contradictory: at one and the same time, the world we inhabit appears to us as a world of our own making and as a world that has become truly alien to us.
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Despeux, Catherine, and Penelope Barrett. "Visual Representations of the Body in Chinese Medical and Daoist Texts From the Song to the Qing Period (Tenth to Nineteenth Century)." Asian Medicine 1, no. 1 (2005): 10–52. http://dx.doi.org/10.1163/157342105777996827.
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This article is a preliminary survey of representations of the body produced in China from the Song to the Qjng period in the context of medicine, forensic medicine and Daoism. Despite much common theoretical background, bodily representation in each of these fields differs in function and intent. Each field came to be associated with a particular aspect of the body. For medicine, this was the description of the viscera and the channels and tracts through which qi and humours flowed; for forensic medicine, it was the description of the skeleton; for Daoism, it was the symbolic description of the body as the spatio-temporal locus of a system of mutations and correspondences with the outside world and the spirit world.These representations fall into three categories, reflecting three different approaches to the body: images of the whole body approached from without, including gymnastic postures, locations on the body, somatic measurements, channels and tracts; images of the inside of the body, i.e. the internal organs and the skeleton (which raises issues regarding dissection); and images of the symbolic body, i.e. alchemical processes within the body and the true form of the allegorical body. The images, which are always accompanied by text, require to be read according to specific cultural codes, and reveal particular mental constructions of the body. They perform multiple functions, serving as proof of knowledge, teaching material, medium of transmission, memory aid, or graphic presentation of a text; and for the Daoists, manifesting the form of the true body.
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Neely, Sol. "Ruined Abjection and Allegory in Deadgirl." Screen Bodies 1, no. 2 (2016): 4–24. http://dx.doi.org/10.3167/screen.2016.010202.
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Deadgirl (2008) is a horror film that gained notoriety on the film festival circuit for its disturbing premise: when a group of teenage social outcasts discover a naked female zombie strapped to a gurney in the basement of an abandoned asylum, they decide “to keep her” as a sex slave. Accordingly, two sites of monstrosity are staged—one with the monstrous-feminine and the other with monstrous masculinities. Insofar as the film explicitly exploits images of abjection to engender its perverse pleasures, it would seem to invite “abject criticism” in the tradition of Barbara Creed, Carol Clover, and colleagues. However, in light of recent critical appraisals about the limitations of “abjection criticism,” this article reads Deadgirl as a cultural artifact that demands we reassess how abjection is critically referenced, arguing that—instead of reading abjection in terms of tropes and themes—we should read it in diachronic, allegorical ways, which do not reify into cultural representation.
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Polkowski, Marcin. "“[…] Non urbs, tamen urbibus ipsa major.” The Image of The Hague in the Dutch Literature and Art of the 17th and 18th Century." Werkwinkel 10, no. 2 (2015): 37–66. http://dx.doi.org/10.1515/werk-2015-0011.
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Abstract Although in the early-modern period The Hague was not officially a city, its identity was based on specifically urban features. During the 17th and 18th century, its ambiguous status was explored by the authors of verse urban encomia and prose descriptiones urbium. In this article, the presentation of The Hague will be first discussed on the example of Caspar Barlaeus’ Latin poem “Haga”, and Constantijn Huygens’ Dutch encomium “’s Gravenhage” from the Dorpen [Villages] cycle of epigrams. Then, the image of The Hague will be examined in the context of an allegorical representation by Jan Caspar Philips in Jacob de Riemer’s Beschryving van ‘s Graven-hage [Description of The Hague, 1730]. The concluding remarks address the question of how the transformation of the status of The Hague undertaken by these writers and artists may be understood in the context of the literary-historical geography of the Northern Renaissance which has been a special subject of research by Professor Andrzej Borowski.
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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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Lambert, Shannon. "“SUBVERSIVE SOMATOLOGY”: EMBODIED COMMUNICATION IN THE EARLY MODERN STAG HUNT." Public 31, no. 59 (2019): 78–87. http://dx.doi.org/10.1386/public.31.59.78_1.
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Using the performative and affective elements of Gilles Deleuze’s conception of “meat,” I argue that the literary representation of stag hunting in the early modern period can serve as a model for an embodied understanding of interspecies communication and interaction. The stag hunt—more than any other form of hunting during the early modern period—is frequently construed in allegorical terms, which sustain human-animal divisions and reinforce notions of human superiority. However, beginning with George Gascoigne’s treatise The Noble Arte of Venerie or Hunting (1575), I explore how elements of the stag hunt like imitation blur these boundaries, posing a challenge to essentialist conceptions of the human, and opening up more fluid mediums of corporeal communication.I then turn to Jaques’ encounter with the stag in Shakespeare’s As You Like It (1599) to consider the potential for trans-species communication of material “passions.” My approach resonates with current work like that of Ralph Acampora, which attempts to shift the grounds of humans’ ethical consideration for animals from the psyche to the soma.
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Stjernfelt, Frederik. "The ontology of espionage in reality and fiction: A case study on iconicity." Sign Systems Studies 31, no. 1 (2003): 133–62. http://dx.doi.org/10.12697/sss.2003.31.1.05.
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A basic form of iconicity in literature is the correspondence between basic conceptual schemata in literary semantics on the one hand and in factual treatments on the other. The semantics of a subject like espionage is argued to be dependent on the ontology of the field in question, with reference to the English philosopher Barry Smith’s “fallibilistic apriorism”. This article outlines such an ontology, on the basis of A. J. Greimas’s semiotics and Carl Schmitt’s philosophy of state, claiming that the semantics of espionage involves politology and narratology on an equal footing. The spy’s “positional” character is analyzed on this basis. A structural difference between police and military espionage is outlined with reference to Georges Dumézil’s theory of the three functions in Indo-European thought. A number of ontological socalled “insecurities” inherent in espionage and its literary representation are outlined. Finally, some hypotheses are stated concerning the connection between espionage and literature, and some central allegorical objects — love, theology — of the spy novel are sketched, and a conclusion on the iconicity of literature is made.
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Yao, Steven. "How Many Ways of Thinking Literature across Continents?" CounterText 3, no. 3 (2017): 338–53. http://dx.doi.org/10.3366/count.2017.0101.
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Taking as its prompt Ranjan Ghosh and J. Hillis Miller's Thinking Literature across Continents (Duke University Press, 2016), this article explores some aspects of the ethics of ‘sahitya’ / literature in the current world historical moment of global capitalism, relating that in the first instance to the practice of reading, studying, and teaching literature across different international and institutional contexts. It then addresses some of the questions surrounding issues arising from each term (particularly across) in Ghosh and Miller's title, before devoting itself to a study of the transpacific: ‘a transformative space of encounter both in response to and as a part of the global spread of modernity and the associated processes of technological and economic globalisation’. The transpacific appears as a specific and subversive ‘thalassapolitan’ case that both upholds and undercuts the arguments presented by Ghosh and Miller. This is amplified by a close reading of the Japanese writer of ‘Merican-Jap’ [meriken jappu] stories Jōji Tani: specifically, his story ‘The Shanghaied Man’, which emerges as a powerful allegorical representation – and critique – of aspects discussed in Thinking Literature across Continents, but also within the study of world and postcolonial literature in the present moment.
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Hauser, Michael. "The Politics of Unification in a Fragmented World: Metapopulism and the Precariat." Open Cultural Studies 2, no. 1 (2018): 307–18. http://dx.doi.org/10.1515/culture-2018-0028.
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Abstract Neoliberal capitalism intensified the social fragmentation, which resulted in the upswing of heterogeneous communities without a unifying meta-language that was liberal universalism of citizenship. Our society shows “paralogical” traits and paralogy reverberates in the new populist policy I call metapopulism (Trump, Putin, etc.)-witness their inconsistencies. Metapopulism establishes unifying principles as a substitute of liberal universalism. These are allegory and the Real. An allegorical signifier (“patriotism” etc.), which is separated from the signified (the meaning), is a common representation of heterogeneous communities and simultaneously maintains their paralogy. The Real appears as the signifier that is excluded from “correct” liberal discourse and promises to enhance the experience of a system’s failures by attributing a social meaning to it (sublimation). These principles work on the condition that their promises are permanently thwarted and deferred, which is their spectrality. However, another type of unification may be feasible. It is a unifying discourse and practise that is grounded in a specific position of the “precariat” as the hegemonical class as formed by neoliberal capitalism (the Lukacsian concept). Here, a unification is borne by the praxis of sublimation.
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Zalaquett Aquea, Cherie. "Diamela Eltit: la noción de periodismo tétrico, ideología y discurso en la prensa (neo) liberal chilena." Catedral Tomada. Revista de crítica literaria latinoamericana 7, no. 12 (2019): 183–217. http://dx.doi.org/10.5195/ct/2019.388.
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This article analyzes the historicity of the concept of dismal journalism, formulated by the writer Diamela Eltit, to designate a set of communicative practices that make up the ideological discourse of the Chilean liberal press. The reflections of Diamela Eltit on the actions of the media system in Chile, are inserted in a tradition of theoretical studies on communication, initiated in the late 60s, which identified the discursive strategies to build the social reality defined by the threat to the social order instituted, stripping of meaning to social demands. The conceptual artefact, dismal journalism, updates the semantic field of liberal journalistic discourse in globalized modernity. It allows to cover the emergence of new journalistic genres of representation of reality in a "spectacular" key, based on the allegorical function of myth, symbolic violence and the effects of reality. The dismal journalism is a discursive operation that reproduces in the news the structural inequality of the system, and even more, fragments this inequality in binary oppositions that omit the ominous of the social context in which the news events emerge. In this way, it causes a syntactic disconnectionbetween the subject of the news, the social story that surrounds it and the predicate that nominates it.
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Almwajeh, Motasim. "Dialogical Dynamics and Subversions of Political and Ideological Boundaries in Chinua Achebe’s Anthills of the Savannah." International Journal of English Linguistics 9, no. 3 (2019): 126. http://dx.doi.org/10.5539/ijel.v9n3p126.
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This article examines the subtle allegorical political nuances and implications in Chinua Achebe’s Anthills of the Savannah (1987). The novel foregrounds and grapples with the problematics of voice, representation, and history where the more inclusive voice appears to be, the more suppressive and exclusive of other voices it is. Hence, the text enacts a journey toward a realm that rises above gender and class-based rigidities, fusing facets of Nigerian sociopolitical and environmental crises (in the past and present). The novel takes on multiple narratives that engender continuation and sharing vis-à-vis historical realities of political cleansing and ideologies and systems of exclusion. Counteracting condescendingly patronizing doctrines and reductive dichotomies, dialogism and ecofeminism pay equal attention to all parties and reject polarizations and divisions. A combination of these approaches precludes tantalization, and it also humanizes ecofeminism and gives it a wider scope. In principle, combined, these approaches guard against any rejectionist or exclusionary superstructures they seek to deconstruct. Ecofeminism, much like Bakhtinian dialogism in its quest for justice, hinges environmental degradation to gender-based, class-based, racist, and imperial variables, and it disrupts these ideologies and systems of oppression in order to assuage human and nonhuman conditions.
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Ótott, Noemi. "Siete voi qui, ser Brunetto?». I volti di Brunetto Latini: rappresentazione e autorappresentazione." Italianistica Debreceniensis 23 (December 1, 2017): 96–107. http://dx.doi.org/10.34102/italdeb/2017/4642.
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As in portrait (attributed to Giotto) of Brunetto Latini and Dante Alighieri, history has tended to pair the two poets, who were both exiled from their native Florence. The role played by Brunetto Latini in Florence’s history paralleled that of the orator Cicero in Republican Rome and Dante, his student, was Florence’s Virgil. The famous “Brunetto’s Song” (Canto XV of Inferno) has generated many controversies, determined and justified by an uninterrupted and secular reflection. The encounter between the protagonist-traveler and his master has great importance also from the point of view of the creation of The Divine Comedy. But the old florentine intellectual does not only appear in this canto: in fact, he is the author and, at the same time, the protagonist of the famous opera Il Tesoretto, a didactic-allegorical poem written in volgare. In my study I focus on the figure of Brunetto Latini and on his representation by Dante. At first I examine the protagonist Latini: how he appears in the canto and what his part is in The Divine Comedy. Then I concentrate on the author Latini and I try to identify the poet’s voices in the texts and descriptions according to the context.
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Pordzik, Ralph. "George Orwell’s Imperial Bestiary: Totemism, Animal Agency and Cross-Species Interaction in “Shooting an Elephant”, Burmese Days and “Marrakech”." Anglia 135, no. 3 (2017): 440–66. http://dx.doi.org/10.1515/ang-2017-0045.
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AbstractThis essay argues that Orwell’s representation of animals as companion species offers a strikingly new, as-yet largely neglected view of animal agency and interiority in his work. In “Shooting an Elephant”, Burmese Days and “Marrakech”, the writer’s focus on the social reject is supplemented by a marked sense of community implying human tragedy yet framing it within precariously situated human-animal, colonial or urban-imperial transitions that visualise animals as agents of change and co-shaping species interdependent with the lives of the humans that utilize and domineer them. Animals are required whenever Orwell aspires to shift from isolation to communality, from the self-conscious outsider to the larger realm of ideas framing the world in which his characters strive to overstep the accepted lines of social performance and conformity. Read in and around disciplinary structures of rationalization, Orwell’s animals appear to secure themselves, quite paradoxically, a place within the normative anthropocentric framework excluding them. They extend beyond anthropomorphising or allegorical modes of description and open up bio-political perspectives within and across regimes of knowledge and empathy. Orwell’s writings thus present a challenge to the culturally accredited fantasy of human exceptionalism, collapsing any epistemic space between humans and animals and burying the idea of sustaining radical species distinction.
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Tabone, Mark A. "Multidirectional Rememory: Slavery and the Holocaust in John A. Williams’s Clifford’s Blues." Twentieth-Century Literature 65, no. 3 (2019): 191–216. http://dx.doi.org/10.1215/0041462x-7852053.
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This article focuses on the representation of history in African American author John A. Williams’s 1999 novel, Clifford’s Blues, a fictional account of a Black, queer American expatriate’s internment and enslavement in a Nazi concentration camp. Through a critical perspective that incorporates the imaginative recovery of (often silenced) history that Toni Morrison (1987) called “rememory,” along with what Holocaust scholar Michael Rothberg (2009) calls “multidirectional memory,” this article details Williams’s daring exploration of spaces of overlap between the histories of American slavery, Jim Crow, and the Nazi Holocaust. The article demonstrates how the novel’s unconventional and controversial emplotment allows Williams to create a distinctive historical critique not only of slavery and the Holocaust but, more broadly, of otherization, racialized violence, and modernity itself, while making a number of historiographic interventions. These include inscribing a largely absent history of the experience of Black people affected by the Holocaust and the mapping of theretofore underacknowledged resonances between American and German ideologies and practices. Through its transnational, transcultural “multidirectionality,” the novel opens up a broad, structural critique of apartheid everywhere; however, this article also argues that the novel also offers models for liberatory communities of resistance. The article demonstrates how Williams accomplishes this through his novel’s allegorical and literal use of the blues.