Relevant bibliographies by topics / Allegory

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Allegory'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Allegory"

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Crisp, Peter. "The Pilgrim’s Progress: Allegory or novel?" Language and Literature: International Journal of Stylistics 21, no. 4 (November 2012): 328–44. http://dx.doi.org/10.1177/0963947012444953.

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A tradition going back to Coleridge asserts that The Pilgrim’s Progress is not a true allegory but rather a proto-novel expressive of early modern individualism. The work is radically individualistic, but it is also truly an allegory. Recent research has emphasized how closely related metaphor often is to metonymy and how intimately the two can interact to produce metaphtonymy. This interaction is just as important in allegory as in purely linguistic metaphor and metonymy. The Pilgrim’s Progress makes subtle use of conceptual metaphtonymy to express its individualism. Although the degree of individualism these cognitive structures express is greater than anything in earlier allegorical tradition, the structures themselves are inherited from medieval allegories such as Everyman. This sharing of major cognitive structure with earlier medieval allegories shows that The Pilgrim’s Progress is truly an allegory. An area in which the interaction of metaphor and metonymy is particularly notable is that of blending. The occurrence of highly creative blending in at least some of its scenes is further evidence for the truly allegoric nature of The Pilgrim’s Progress.
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Campbell, Julie. "Allegories of Clarity and Obscurity: Bunyan's and Beckett's." Samuel Beckett Today / Aujourd'hui 24, no. 1 (December 1, 2012): 89–103. http://dx.doi.org/10.1163/18757405-024001006.

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This article explores the ways in which Beckett's can be considered a modern allegory that both uses and confuses the methods of traditional allegory. John Bunyan, in , was able to depend upon his readers' knowledge of the Bible to decode the allegorical nature of the tale of Christian and his endeavours to overcome sinfulness and reach heaven. This discussion is concerned with the way Beckett redefines the allegoric mode in , simultaneously encouraging and thwarting the reader's interpretive activity, and the ways in which the allusions to Bunyan's text play a part in this process.
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Vidauskytė, Lina. "ALEGORIJA KAIP KALBĖJIMAS APIE KITYBĘ." Religija ir kultūra 6, no. 1-2 (January 1, 2009): 117–33. http://dx.doi.org/10.15388/relig.2009.1.2772.

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Šiame straipsnyje aptariama Walterio Benjamino alegorijos samprata, kuri gali būti suprantama ir kaip jo taikomas filosofinis alegorinis metodas. Šis metodas traktuojamas kaip būdas kalbėti apie kitybę. Alegorija, kuri reprezentuoja barokinį Trauerspiel (tai savarankiškas žanras, o ne antikinės tragedijos tąsa), pasižymi tam tikru pertrūkiu tarp formos ir turinio, arba tarp reikšmės ir išraiškos. Benjaminas siekia reabilituoti alegoriją – romantikai buvo pradėję ją nuvertinti. Čia pasirodo svarbi Benjamino kalbos samprata, o tiksliau – nuopuolio situacija, kuri atsispindi ir kalboje. Alegorija pasirodo kaip vienintelė įmanoma tokioje situacijoje. Alegorijos fragmentiškumas, konvencijos ir išraiškos dialektika, priklausomybė nuo reikšmę suteikiančio autoriteto, kilmė iš liūdinčio / gedinčio žvilgsnio, kuriam pasaulis suskyla į atskirybes, formali giminystė tokiems turiniams kaip irimas (Verfall) ir mirtis, kilmė iš „kalbos dvasios nuopuolio“ („Sündenfall des Sprachgeistes“), kurį alegorija ir išreiškia, alegorijos sąsaja su kita nei žmogiška būtimi yra pagrindinės filosofinio alegorinio metodo ypatybės.Pagrindiniai žodžiai: alegorija, simbolis, Barokas, Romantizmas, netiesioginis kalbėjimas, kitybė, Trauerspiel, tiesa.Allegory as representation of the OtherLina Vidauskytė SummaryThis article deals with German philosopher’s Walter Benjamin philosophical concept of allegory. The concept of allegory is aplied as method in the main works of Benjamin. This method is concidered as a way of speaking about the Other. Allegory represents Baroque Trauerspiel (it is an autonomous genre rather than continuation of Anciet Tragedy) and have interruption between form and content, meaning and expression. Benjamin seaks the rehabilitation of allegory from its humiliation since Romanticism. Benjamin’s notion of language after the Fall is one of the most important issues for using allegory, or indirect speech. Allegory is nearly the one way of expression in such historical (not mythological) situation. Allegory’s fragmentation, its dialectics of convention and expression, its origin from mourning gaze, formal kinship to such contents as decay and death, its origin from “the Fall of language spirit” etc. are the main characteristics of such philosophical method.Keywords: allegory, symbol, Baroque, Romanticism, indirect speech, Other, Trauerspiel, truth.
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Segal, E. "Allegory." Poetics Today 32, no. 4 (December 1, 2011): 755–58. http://dx.doi.org/10.1215/03335372-1459881.

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Schulze, Earl. "Allegory against Allegory: "The Triumph of Life"." Studies in Romanticism 27, no. 1 (1988): 31. http://dx.doi.org/10.2307/25600694.

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Uhlmann, Anthony. "Negative Allegory: Buning on Allegory and the." Samuel Beckett Today / Aujourd'hui 21, no. 1 (February 1, 2010): 17–26. http://dx.doi.org/10.1163/18757405-021001002.

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This essay will discuss two areas of interest developed by Marius Buning that point towards doorways within Beckett studies: the idea of allegory, and the idea of the . It will consider how these two ideas might be thought to interrelate and open new insights in the field.
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Vasas, László. ""Semeja esti prado egual de paraíso" : Gonzalo de Berceo : Milagros de nuestra señora." Acta Hispanica 17 (January 1, 2012): 45–60. http://dx.doi.org/10.14232/actahisp.2012.17.45-60.

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The present article analyses some of the features that characterise Mariology. First of all, it focuses on the history of this peculiar area of theology, as a literary and epistemological code. The text itself, designated to illustrate the formation of a new literary and philosophical discourse, is the well known compilation Miracles of Our Lady by Gonzalo de Berceo, with special regard to the allegoric Introduction to the same work. Allegory was the most widespread narrative figure of social cultural texture in the Middle Ages. The Marian cult was an extraordinary literary revelation in the Europe of the 11-13th centuries. The chain of metaphors defining the Introduction to the Miracles implies a universal theological allegory concerning the role of the Virgin in the salvation of humanity. The interpretation of some landscape elements means not only the polysemic allegory for the creation of a cultural home but also signifies the conception of a new symbolical rational order and the combination of cultural registers. What is meant is the embedding of Christian narrative and a serious attempt to create a specific national and culturalpattern.
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Cecchini, Leonardo. ""Allegory of the theologians" or "allegory of the poets": Allegory in Dante's Commedia." Orbis Litterarum 55, no. 5 (October 2000): 340–78. http://dx.doi.org/10.1034/j.1600-0730.2000.d01-22.x.

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Egenolf, Susan Bolet, and Theresa M. Kelley. "Reinventing Allegory." South Central Review 17, no. 2 (2000): 113. http://dx.doi.org/10.2307/3190020.

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Teskey, Gordon, and Theresa M. Kelley. "Reinventing Allegory." Yearbook of English Studies 30 (2000): 265. http://dx.doi.org/10.2307/3509259.

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Dissertations / Theses on the topic "Allegory"

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Kinsey, Sara Virginia. "Enigmatic Allegory." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3227.

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My artwork is autobiographical and shaped by my experiences. Collectively, it serves as a visual journal expressing a range of emotions honoring meaningful people, portraying important places, and commemorating significant events in my life. My art documents the progression from turmoil, despair, and isolation to growth, recovery, and gratitude. I utilize a recurring set of subjective symbols which hold personal significance. These symbols, which include robots, eggs, chairs, shoes, and trash cans, help me create narratives and visual continuity across my body of work. I purposefully omit some information to mask the entirety of the story being told. Typically, these symbols represent people, most frequently myself. By covertly telling my story, I invite the viewer to interpret meaning based on their own distinct history. I place my methods outside the box of established painting and printing practices. After much experimentation and exploration with printmaking media, I have developed a technique with a strong foundation in traditional aquatint etching blended with graffiti-inspired pochoir ink application, or stenciling. This allows me to achieve a contemporary illustrative look within a media deep-rooted in tradition. In painting, I frequently revert to my printmaking background by layering pigments of varying levels of opacity, painting on metal plates, and then etching into the surface. This approach allows me to achieve richness in color, texture, line quality, and visual depth while sharing my story.
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Kountoupes, Nicola. "Eating the allegory /." Online version of thesis, 2009. http://hdl.handle.net/1850/8218.

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Keller, Kody. "Parallel and Allegory." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4200.

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Parallel and Allegory is a series of four pieces that look deeper into specific Christian beliefs. Most directly addressed those that dealt with specific parallels and allegorical relationships. Specific symbols such as nails, hammers, wood, trees, people, fruit, a cup, knife a rope and a stone were the focus of the pieces in the exhibition. Four combinations of these symbols were created to create dialogue and introspection.
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Pairpoint, David. "Art allegory and autobiography." Thesis, University of East London, 2012. http://roar.uel.ac.uk/1857/.

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My research for the Doctorate programme began in 2007 by exploring how to translate and reinvent cinematic imagery and searching for ways of combining cinema, painting, and autobiography. Initially I looked at theories of allegory in order to establish how to integrate those ideas and elements in my own work. I then experimented with a variety of ways of using cinema imagery coupled with my own photographs to make large scale autobiographical paintings. From time to time social commentary would occur in the work as I responded with anger or despair at current events. My research into art and allegory led me to the writings of Walter Benjamin, Craig Owens and Bainard Cowan. After considering a range of artists I selected the painter Daniel Richter and the filmmaker Peter Greenaway, to research in depth. I experimented by manipulating imagery on a computer prior to making a painting. My supervisors saw one of the paintings that resulted from this process as a significant breakthrough piece. (Oh Carole 2009 Fig.15 Page 24)) What I did not acknowledge or recognise was that the genesis of this particular work was a deep-seated emotional response to a past event. My continued research into film literature and interpretations of allegory was leading me in many directions, each seemingly more interesting than the last, and each providing me with a mass of imagery which I felt compelled to act upon. Part of this compulsion was the need I felt to continually justify the work as an obligation to the status or hierarchy of the Doctorate programme. This sense of obligation became the driver for the compulsive production of my work. My supervisors identified a second significant painting. This was a portrait of my late father (Dad 2010 Fig.18 Page28) which, once again was my response to the release of deeply felt emotion that had surfaced. These feelings were buried, as I continued making a high volume of work, with often as many as three separate genres of paintings being made at the same time. I was not allowing time to reflect or analyse the significant meaning in those works. I reached a further turning point, a breakthrough painting, which was a selfportrait (Child Me 2010 Fig.19 Page29) in which I was accessing a genuine emotional response to past events in my life rather than using second hand emotions suggested by cinema or literature. I went on to make other paintings in which I tried to respond honestly, emotionally and imaginatively to events in my past. There was a sense of release in making this new body of work. I began to reflect that the earlier work was impersonal and was made to satisfy a self-imposed obligation and work ethic. 4 With the latest work I cannot wholly explain how I arrive at the images or necessarily what they are about but I recognise that they are informed by my imagination, which the previous way of working and thinking did not allow for. In the later work there is a far greater sense of self expression, and the self imposed constraints and self conscious attitudes are disappearing. Accessing these new imaginative and emotional responses has not been an easy process for me. I think that the perseverance and excessive volume of work made throughout the programme may well have been a necessary process to enable me to arrive at a point where my imagination and intuition are a trusted part of my methodology.
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Schroeder, Sally Louise. "Allegory as rhetoric: Faulkner's trilogy." CSUSB ScholarWorks, 1997. https://scholarworks.lib.csusb.edu/etd-project/1416.

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Marval, Mary. "Johannes Vermeer's allegory of faith reconsidered." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=64091.

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Morra, Giovanna. "Case studies between translation and allegory." Thesis, University of Leeds, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341616.

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Wilford, Beatrice Kate. "Embodiment and allegory in 'Piers Plowman'." Thesis, King's College London (University of London), 2015. http://kclpure.kcl.ac.uk/portal/en/theses/embodiment-and-allegory-in-piers-plowman(4666dde8-b7a9-479e-a909-dbf74e57f045).html.

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This thesis argues that Langland's bodies are of fundamental importance to his allegory. Langland sees the body as the principle vehicle through which the words and ideas in his poem can be explored. He understands language as deeply embodied. Piers Plowman establishes a hermeneutics of flesh in which concepts are explored through their effects on bodies. The apparent opposition in Piers's allegory between the material and the abstract is a result of Langland's belief in the importance of the body and the influence it has on meaning. Ultimately, the body represents union with God through the incarnation and so understanding and using its insights is paramount. The first chapter explores representations of the body and the soul, the incarnation, and the relationship between personifications and words to establish how the poem theorises the interaction of flesh with matter. The second chapter argues that clothing and signs on the body are rejected as ways of displaying meaning by Langland in favour of depictions of meaning upon the bodies of personifications and other characters. The third chapter describes the 'capture' of bodies by meaning as a violent process endemic to allegory that Langland openly explores as a way of understanding how bodies interact with the conceptual. In the final chapter, the idea of Langland as a poet concerned with the bodily is examined through metaphor theory. Piers emerges as a poem that uses its reader's own body as a basis for its complex ideas, thus establishing a physical link between Langland and his readers. This thesis finds, in Langland, a poet who believes the body should be at the centre of textuality and who uses allegory to open up and explore the intersections between bodies and words.
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Kirakosyan, Levon. "Spiritual allegory in medieval Armenian parables/fables." Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.

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Jones, Deborah L. "Postmodernist allegory : the works of Thomas Pynchon /." Title page, contents and synopsis only, 1985. http://web4.library.adelaide.edu.au/theses/09ARM/09armj759.pdf.

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Books on the topic "Allegory"

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Tambling, Jeremy. Allegory. New York, NY: Routledge, 2009.

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Eberhard, Carl J. Allegory. San Francisco: Bohemian Club, 2006.

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Britain), National Gallery (Great, ed. Allegory. London: National Gallery, 2010.

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Brljak, Vladimir. Allegory Studies. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003183341.

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Tymieniecka, Anna-Teresa, ed. Allegory Revisited. Dordrecht: Springer Netherlands, 1994. http://dx.doi.org/10.1007/978-94-011-0898-0.

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Madsen, Deborah L. Allegory in America. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1057/9780230379930.

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Teskey, Gordon. Allegory and violence. Ithaca, NY: Cornell University Press, 1996.

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Chadwick, Helen. Allegory of misrule. Birmingham: Birmingham City Museum and Art Gallery, 1987.

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(Firm), Bernard Quaritch. Emblem and allegory. London: Bernard Quaritch Ltd, 2004.

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Steve, Wilson. Allegory dance: Poems. Houston: Black Tie Press, 1991.

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Book chapters on the topic "Allegory"

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Borris, Kenneth. "Allegory." In A Companion to Renaissance Poetry, 595–610. Chichester, UK: John Wiley & Sons, Ltd, 2018. http://dx.doi.org/10.1002/9781118585184.ch45.

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Mucci, Clara. "Allegory." In A Companion to English Renaissance Literature and Culture, 298–306. Malden, MA, USA: Blackwell Publishers Ltd, 2007. http://dx.doi.org/10.1002/9780470998731.ch27.

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Spurrell, Mark. "Allegory." In The Symbolism of Medieval Churches, 30–36. New York: Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780429399091-4.

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Mucci, Clara. "Allegory." In A New Companion to English Renaissance Literature and Culture, 214–24. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319019.ch55.

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Mercado, Gustavo. "allegory." In The Filmmaker's Eye: The Language of the Lens, 74–75. London; New York: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429446894-15.

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"5 Thematic Effects: Ambivalence, the Sublime, and the Picturesque." In Allegory, 221–80. Princeton University Press, 2012. http://dx.doi.org/10.1515/9781400842049-009.

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"Frontmatter." In Allegory, i—vi. Princeton University Press, 2012. http://dx.doi.org/10.1515/9781400842049-fm.

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"Thematic Effects:." In Allegory, 221–80. Princeton University Press, 2021. http://dx.doi.org/10.2307/j.ctv1j9mjn0.11.

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"Front Matter." In Allegory, i—vi. Princeton University Press, 2021. http://dx.doi.org/10.2307/j.ctv1j9mjn0.1.

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"The Daemonic Agent." In Allegory, 24–68. Princeton University Press, 2021. http://dx.doi.org/10.2307/j.ctv1j9mjn0.7.

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Conference papers on the topic "Allegory"

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Helmsing, Mark. "Disability Plots: Curriculum, Allegory, and History Education." In 2019 AERA Annual Meeting. Washington DC: AERA, 2019. http://dx.doi.org/10.3102/1432909.

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Zabala, Jailyn, Josie Zvelebilova, and Alexandra To. "Queer TTRPGs' Visibility, Safety, and Allegory as Resistance." In FDG 2024: Foundations of Digital Games. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3649921.3650022.

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Watters, Paul A. "Challenges to Automated Allegory Resolution in Open Source Intelligence." In 2012 Third Cybercrime and Trustworthy Computing Workshop (CTC). IEEE, 2012. http://dx.doi.org/10.1109/ctc.2012.8.

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Carvalho, Luiz Paulo, Jonice Oliveira, and Flavia Santoro. "Who watches YOU? An allegory of dataveillance and cyberstalking." In Workshop sobre as Implicações da Computação na Sociedad. Sociedade Brasileira de Computação, 2020. http://dx.doi.org/10.5753/wics.2020.11039.

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How your openly published personal data in Online Social Networks are used by other people? Not only organizations and companies are interested in them. From a qualitative approach, we present a hermeneutic of an episode of the TV series YOU, building an allegory that exposes the potential for cyberstalking and dataveillance. The romanticization and naturalization of these phenomena is tensioned, they are based on ethically dubious intentions and a semiotic discourse harmful to social sustainability.
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Xie, Liqin. "Study on the Allegory Narrative Mode in England, England." In 2nd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iccessh-17.2017.150.

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Musat, Raisa. "ALLEGORY AND SYMBOLICS IN THE ARTWORKS OF LEONARDO DA VINCI." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocialf2018/6.3/s10.001.

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Hanafi, Lukman, and Joesana Tjahjani. "Allegory of Spiritual Journey to Understand God in Indonesian Novel." In Proceedings of the 1st Seminar and Workshop on Research Design, for Education, Social Science, Arts, and Humanities, SEWORD FRESSH 2019, April 27 2019, Surakarta, Central Java, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.27-4-2019.2286866.

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Kavouras, Pavlos. "Trickster and Cain: An Allegory of Musical and Linguistic Anthropology." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.1-1.

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In this talk, I will juxtapose the mythological figure of trickster with the biblical figure of Cain. In doing so, my purpose is to shed light on the dynamics of human thinking. Trickster is a potent symbol of humanity. It is found in the oral literatures of tribal peoples worldwide, in the context of which his mode of thinking and acting is amply demonstrated. Trickster became widely known to the Western world as a unique expression of humanity, mainly through the works of the anthropologist Paul Radin and the psychologist Carl Jung. Trickstering is a unique human quality which concerns a one-way logic of being in the world. Trickster’s flow of consciousness moves from a center or point of departure outwards, having no destination, and is defined by the lack of any subject / object differentiation. Trickster stands ideally for abductive logic, to use the philosopher Charles Saunders Peirce’s terminology, as opposed to the other two Peircean kinds of logic, inductive and deductive, which I take to represent together the logic of Cain. In the case of Cain, human thinking is characterized by the subject / object divide, which introduces an epistemological and, eventually, a reflexive dualism, with serious, moral, and ethical implications. Cain’s logic flows from the particular to the whole and vice versa, inductively or deductively, as it is defined and determined by the mental law of ‘Two’ in the thinker’s or actor’s reflexive relationship with the world – his or her physical, social, and spiritual cosmos. After setting the stage for a critical encountering between the primitive trickster and the biblical Cain, I will interpret their exchanges and incompatible expressions regarding their non-reflexive and reflexive ways of being in the world, respectively. Finally, I will turn to music and allegory, attempting to blend these two fundamental components of humanity with the archetypal characters of trickster and Cain. It is in the context of such a dialogue that trickster’s encounter with Cain acquires its musical and allegorical momentum, and sheds light through its abductive othering to the question of interpretation and human consciousness.
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TABURCEANU, Polina. "Symbol and allegory in the short prose of Ion Drúta." In Învățământul superior: tradiţii, valori, perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.29-30-09-2023.p302-311.

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The article elucidates some aspects of the artistic imagination of the writer Ion Druță. A special role in Ion Druță's prose belongs to the compositional valorization of symbol and allegory (that is, the exploration of ways of poeticizing artistic language, which constitute features of lyricism). Equally important is their way of revealing, their way of internal organization. The article argues that the means of symbolization, allegorization, etc. It depends, to a large extent, on how and at what level the emotional and ideatico-artistic message of the image is revealed.
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Xie, Tian’ai. "An Analysis of Political Allegory in Animal Farm: from the Perspective of Animal Metaphor." In 2020 3rd International Conference on Humanities Education and Social Sciences (ICHESS 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201214.496.

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Reports on the topic "Allegory"

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Lane, Darrin J. Porting Pan I to Allegro COMMON LISP. Fort Belvoir, VA: Defense Technical Information Center, September 1988. http://dx.doi.org/10.21236/ada619796.

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Mayer, A., K. McFarlane, and W. Silver. Lawrence Graduate Research Scholar Final Report, Allegra Mayer, 2021. Office of Scientific and Technical Information (OSTI), September 2021. http://dx.doi.org/10.2172/1824770.

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Caralli, Richard A., James F. Stevens, Lisa R. Young, and William R. Wilson. Introducing OCTAVE Allegro: Improving the Information Security Risk Assessment Process. Fort Belvoir, VA: Defense Technical Information Center, May 2007. http://dx.doi.org/10.21236/ada470450.

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Поліщук, Олександр Павлович, Ілля Олександрович Теплицький, and Сергій Олексійович Семеріков. Розробка систем мобільного доступу до Інтернет-аукціону Aukro у підготовці фахівців з інформаційних технологій. Мінрегіон України, September 2012. http://dx.doi.org/10.31812/0564/965.

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Aukro (Aukro.ua) найбільший і найпопулярніший Інтернет-аукціон в Україні, що існує з 2007 року і з самого свого заснування міцно утримує позиції лідера. Інтернет-аукціон побудований на відомій східноєвропейській платформі Allegro, перші сайти на якій з’явились у Чехії (http://aukro.cz), Польщі (http://allegro.pl). Найвідомішими у СНД сайтами, побудованими на цій платформі, є російський сайт «Молоток.ру» (http://molotok.ru), казахський (http://aukro.kz) та український Aukro російською (http://aukro.ua) та українською мовами (http://ua.aukro.ua). Так само, як і Інтернет-аукціон eBay, Aukro має відкритий програмний інтерфейс – API доступу до Web-сервісів, за допомогою якого можна розробляти програмне забезпечення, що підвищує зручність роботи як продавців, так і покупців Інтернет-аукціону: масове завантаження описів лотів, відстеження обраних лотів у реальному часі і т.п. Для всіх перелічених вище аукціонів спільним таким програмним забезпеченням є ALoader, що працює на персональних комп’ютерах. Ураховуючи суттєву зручність використання мобільних пристроїв для оперативних торгів, для польського, чеського, російського та казахського варіантів платформи Allegro були розроблені відповідні мобільні додатки для пристроїв під управлінням Google Android. Актуальність розробки визначається тим, що для Інтернет-аукціону Aukro відсутнє програмне забезпечення для мобільного доступу з все більш широко поширюваної платформи Google Android.
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Hodnett, John, Ralph Eshelman, Nicholas Gardner, and Vincent Santucci. Geology, Pleistocene paleontology, and research history of the Cumberland Bone Cave: Potomac Heritage National Scenic Trail. National Park Service, January 2023. http://dx.doi.org/10.36967/2296839.

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The Cumberland Bone Cave is a public visitation stop along the Potomac Heritage National Scenic Trail renowned for its unique fossil resources that help reconstruct Appalachian middle Pleistocene life in the mid-Atlantic region of North America. This site is gated for safety and to prevent unwanted exploration and damage. Approximately 163 taxa of fossil plant and animals have been collected from Cumberland Bone Cave since 1912. Most of the fossils that have been published pertain to mammals, including many extinct or locally extirpated genera and species. Though the early excavations made by the Smithsonian Institution between 1912 and 1915 are the best known of the work at Cumberland Bone Cave, over many decades multiple institutions and paleontologists have collected and studied the fossil resources from this site up until 2012. Today, fossils from Cumberland Bone Cave are housed at various museum collections, including public displays at the National Museum of Natural History in Washington D.C. and the Allegany Museum in Cumberland, Maryland. This report summarizes the geology, fossil resources, and the history of excavation and research for Potomac Heritage Trail’s Cumberland Bone Cave.
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Reassessment of the NRC`s program for protecting allegers against retaliation. Office of Scientific and Technical Information (OSTI), January 1994. http://dx.doi.org/10.2172/10121800.

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Geohydrology of the surficial aquifer in the Hornell area, in Steuben and Allegany Counties, New York. US Geological Survey, 1990. http://dx.doi.org/10.3133/wri894053.

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