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1
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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Broadfoot, Lisa. "Allegory and the ruins of Walter Benjamin." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60616.
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Walter Benjamin's critical and historical method addresses the problem of conceptualizing a discontinuous history. In The Origin of German Tragic Drama he proposes allegory as an appropriate form for the representation of the past because it drains images of life so that they may be re-presented with the meaning endowed by the allegorist. In a similar way, literary criticism and historical materialism are involved in the process of mortification so that, from the distance of time, truth may be glimpsed. Benjamin privileges the fragmentary form of representation in allegory over the false unity of the artistic symbol. Whereas truth may be fleetingly revealed by the symbol, allegory forces the extended contemplation of history. Benjamin's method is always negative, looking back rather than forward, and his two main preoccupations, Messianism and Marxism, reflect this desire to reclaim the past. Over and above these interests, however, is his profound sense of nihilism in his study of the ruins of human history.
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MacElwee, Andrea L. (Andrea Laurel). "Allegory and the architecture of Francesco Borromini." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22545.
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This thesis relates the aspirations (examined in political treatises, literary programs and scientific treaties) of Pope Urban VIIIth with the allegorical spaciality of the architecture of Francesco Borromini. The projects initiated under the patronage of the Pope are particularly related to the Pope's election. Urban's personal impressa, the Angelic Sun is an emblem of this election, a reborn sun, a second personal birth and the elevation of the Angelic Pope (the leader of the age of the Holy Spirit). This is allegorically a metamorphosis like the re-birth of Daphne into Laurel; the Tree of Aeneas and Rome and the principal Barberini impressa. As a dynastic emblem the Laurel unites the cosmic territories of the sun and the moon, the traditional emblems of cosmic kingship and world domination. The metaphysical marriage to Rome (coronation and marriage are ritually linked, like the union of the sun and the moon) metaphorically appropriates the capacity of giving birth through construction, to a new city, an intellectual city in the image of Urban, the threshold for spirit. The architecture 'contains' this intellectual body (city), a dynastic emblem of the Angelic Pope.
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Støa, Heidi. "Triumphant Orfeo: Spiritual allegory in «Sir Orfeo»." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22008.
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The Middle English lai Sir Orfeo combines elements from the Greco-Roman, Christian, and Northern European folkloric traditions in a narrative which is both a successful romance and a text informed by Christian allegory. Through an examination of the poem's possible sources and analogues, I demonstrate that the lai's representation of Orpheus is rooted in the archaic Greek myth of Orpheus' triumphant rescue of individuals from the underworld. In Sir Orfeo, the early myth's emphasis on Orpheus' positive qualities—in particular his musical prowess—and its continuation in the literature and art of early Christianity is merged with folkloric elements which similarly focus on the power of music to defeat the destructive forces of the otherworld. The thesis argues that the protagonist, Orfeo, is thus represented as an agent of God's order and his defeat of otherworldly forces as an act of Christian heroism.Le lai moyen anglais Sir Orfeo lie des éléments des traditions folkloriques l'Europe septentionale, Greco-Romaines et chrétiennes dans une narration à la fris une romance bien réussie et un texte influencé d'une allégorie chrétienne. Par un examen des sources et des analogues possibles du poem, je veux démontrer que la représentation du lai a ses racines dans le myths archaïque d'Orphée qui, triomphant réussit à sauver des individues du monde au delà. Dans Sir Orfeo l'emphase du mythe archaïque est sur les qualités positives d'Orphée, surtout ses talents musicaux, en plus sa continuation dans la litterature et l'art de la premiere époque chrétienne, est liée aux éléments folkloriques, en même temps attachant l'importance au pouvoir de la musique pour vaincre las forces destructives du monde au delà. Le protagoniste, Orfeo, est de cette manière representé comme un agent de l'ordre divin et sa défaite des forces du monde au delà est un acte de l'héroïsme chrétien.
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Philips, Jacqueline Louise. "Transformation by allegory in John Bunyan's writing." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286431.
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Pinto, Humberto Pessoa. "Allegory and Symbolism in the Scarlet Letter." reponame:Repositório Institucional da UFSC, 1992. https://repositorio.ufsc.br/xmlui/handle/123456789/157759.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina. Centro de Comunicação e ExpressãoMade available in DSpace on 2016-01-08T17:46:09Z (GMT). No. of bitstreams: 1 88275.pdf: 2798721 bytes, checksum: 9b178bc7b48636b0812ba36775d946d9 (MD5) Previous issue date: 1992
Este trabalho tem por objetivo descrever as causas subjacentes ao complexo sentido do romance the Scarlet Letter, de Hawthorne. Tenta mostrar que este sentido é produzido pela tensão não resolvida entre duas forças contraditórias - alegoria e simbolismo. A alegoria é um dispositivo retórico tradicional que reduz toda a realidade a noções claras e unilaterais. Ela tende assim, a concentrar o sentido num único enunciado.
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Tavidian, Amy Elizabeth. "Marxist allegory in Jack London's Alaskan Tales." CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/565.
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McConnell, Rachel. "Pierre Paul Prud'hon and the Genius of Allegory." Thesis, University of Canterbury. Humanities, 2010. http://hdl.handle.net/10092/5016.
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Pierre Paul Prud’hon (1758-1823) lived and worked as an artist during the last years of the French Monarchy, the Revolution, the Republic, the Empire and finally the Restoration. He mostly worked with allegory, setting him apart from other artists at the time, such as Jacques Louis David. While Prud’hon was a significant artist in his own time, he is only just being rehabilitated today. In this thesis I trace Prud’hon’s artistic career as an allegorical painter through the different governments, examining thematically his different types of allegories, from the moral to the political. In particular, the context of allegory is examined, including how Prud’hon approaches allegory and criticism and interpretation of his use of allegory. This examination of Prud’hon highlights what was so unusual about Prud’hon’s art – primarily his use, with reasonable success, of allegory. This alone makes it clear that he should be held in higher regard by today’s art historians.
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Holman, Rupert. "Memorializing, allegory and the rewriting of Nathaniel Hawthorne." Thesis, University of Nottingham, 1998. http://eprints.nottingham.ac.uk/11056/.
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The thesis uses Hawthorne's interest in a scene of filial ambiguity, namely Samuel Johnson's penance to argue that Hawthorne's (re-) writing is characterised by a subversion of origins (both metaphysical and cultural). Complementing this argument, the thesis also attempts to show, with reference to texts by J. Hillis Miller, Jean-Francois Lyotard, Paul de Man and Maurice Blanchot, how deconstruction can offer new and important insights into Hawthorne's writing. Having outlined other important critical approaches (New Critical and New Historical) the thesis claims that, with its heightened sensitivity to the use of tropes, deconstruction is a particularly useful critical tool when it comes to reading Hawthorne. The thesis pays particularly close attention to two theoretical texts: Miller's Hawthorne and History: Defacing It and Lyotard's `Rewriting Modernity' and attempts to extend Miller's analysis (the only deconstructive text which refers directly to Hawthorne). This involves two movements. Firstly the thesis extends Miller's analysis by showing how it is echoed in the writings of de Man, Blanchot, and Lyotard. Secondly, the thesis refers to a wider selection of writings from Hawthorne's corpus (including writings from Twice-told Tales, Mosses From An Old Manse, The Snow-Image, `Alice Doane's Appeal', The Scarlet Letter, The Marble Faun, Our Old Home, the final `unfinished' manuscripts and diary and notebook entries). Using insights from these texts the thesis argues that Hawthorne rejects the idea that history involves the storing up of facts for future retrieval (a project which is aligned with memorialising). Hawthorne, it is argued, subverts this sense of memorialising by repeatedly drawing attention to an instability that contaminates each and every historical happening.
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Macedo-Lamb, Silvana Barbosa. "From fine art to natural science through allegory." Thesis, Northumbria University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410383.
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Erik, Rosshagen. "Sync Event : The Ethnographic Allegory of Unsere Afrikareise." Thesis, Stockholms universitet, Institutionen för mediestudier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-131291.
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The thesis aims at a critical reflexion on experimental ethnography with a special focus on the role of sound. A reassessment of its predominant discourse, as conceptualized by Cathrine Russell, is paired with a conceptual approach to film sound and audio-vision. By reactivating experimental filmmaker Peter Kubelka’s concept sync event and its aesthetic realisation in Unsere Afrikareise (Our Trip to Africa, Peter Kubelka, 1966) the thesis provide a themed reflection on the materiality of film as audiovisual relation. Sync event is a concept focused on the separation and meeting of image and sound to create new meanings, or metaphors. By reintroducing the concept and discussing its implication in relation to Michel Chion’s audio-vision, the thesis theorizes the audiovisual relation in ethnographic/documentary film more broadly. Through examples from the Russian avant-garde and Surrealism the sync event is connected to a historical genealogy of audiovisual experiments. With James Clifford’s notion ethnographic allegory Unsere Afrikareise becomes a case in point of experimental ethnography at work. The sync event is comprehended as an ethnographic allegory with the audience at its focal point; a colonial critique performed in the active process of audio-viewing film.
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Bateman, Genevieve. "Creative misreadings: allegory in Tracey Rose's Ciao Bella." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1009506.
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This thesis will aim to investigate the extent to which Tracey Rose's Ciao Bella can be said to allegorically perform a dialectical enfolding of the dichotomous categories of meaning/nonmeaning; image/text; past/present and original/translation. The dual concepts of performance and performativity will be utilized as a means to explore the notion of interpretation as a meaning-making process and as an engagement between artist, artwork and viewer that is necessarily open-ended and in a state of constant change and flux. Rose's performance of Ciao Bella will be read as one that questions the illusion of unmediated representation by parodying and creatively misreading a multiplicity of visual, textual and musical representations so as to foreground the politics of representation. The representational figure of allegory, as one that defines itself in opposition to the Romantic conception of the unified symbol, will be put to work so as to reveal the ways in which Rose's performance works to critically undermine various positivistic attitudes toward self-identity, gender, race, politics, history, authorial intention and interpretation.
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Rosshagen, Erik. "Sync Event : The Ethnographic Allegory of Unsere Afrikareise." Thesis, Stockholms universitet, Filmvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-183273.
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The thesis aims at a critical reflexion on experimental ethnography with a special focus on the role of sound. A reassessment of its predominant discourse, as conceptualized by Cathrine Russell, is paired with a conceptual approach to film sound and audiovision. By reactivating experimental filmmaker Peter Kubelka’s concept sync event and its aesthetic realisation in Unsere Afrikareise (Our Trip to Africa, Peter Kubelka, 1966) the thesis provide a themed reflection on the materiality of film as audiovisual relation. Sync event is a concept focused on the separation and meeting of image and sound to create new meanings, or metaphors. By reintroducing the concept and discussing its implication in relation to Michel Chion’s audio-vision, the thesis theorizes the audiovisual relation in ethnographic/documentary film more broadly.Through examples from the Russian avant-garde and Surrealism the sync event is connected to a historical genealogy of audiovisual experiments. With James Clifford’s notion ethnographic allegory Unsere Afrikareise becomes as a case in point of experimental ethnography at work. The sync event is comprehended as an ethnographic allegory with the audience at its focal point; a colonial critique performed in the active process of audio-viewing film.
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Solovieva, Olga Y. "Asceticism and allegory: exegesis as an ascetic performance /." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2009. http://wwwlib.umi.com/cr/syr/main.
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Tredennick, Linda Breton. "Protestant figures : Milton and the reformation of allegory /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3061969.
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Thesis (Ph. D.)--University of Oregon, 2002.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 212-219). Also available for download via the World Wide Web; free to University of Oregon users.
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Karlowicz, Tobias Amadeus. "Reclaiming Pusey for theology : allegory, communion, and sacrifice." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4122.
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Edward Bouverie Pusey once towered over nineteenth-century British theology, but he has now fallen into almost entire insignificance. However, analysis of this decline (Chapter 1) leads to a reassessment. His development—especially his complicated relationship with pre-Tractarian High Church Anglicanism—shows a deep criticism of post-Enlightenment intellectual trends, from his early years through his association with the Oxford Movement and the Tracts for the Times, to the end of his life (Chapter 2). This criticism led him to the patristic use of allegory, both as a biblical hermeneutic and as a creative, complex, image-based approach to theology (Chapter 3). His development of High Church theology (seen especially through comparison with Waterland) and his use of allegory can be traced throughout his theology. His understanding of union with Christ and theosis reveals both: the sacraments have a strong symbolic dimension, while his positions on baptismal regeneration and the real presence of Christ in the Eucharist show a development rather than a rejection of earlier High Church theology (Chapters 4 and 5). His understanding of the atonement blends High Church reliance on sacrificial types with his unitive theology to reconfigure traditional satisfaction theory as restoration of love for God, rather than redemption from punishment—a position which marks Pusey as an important transitional figure in 19th c. theology (Chapter 6). The flexibility of Pusey's allegorical approach also allows him to blend a High Church tradition of spiritual sacrifice with sacramental participation in Christ's self-offering, so that sacrifice becomes an aspect of union with Christ (Chapter 7). Pusey's use of allegory shows similarities to postmodern theology, while his development of High Church theology shows his originality (Chapter 8).
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Martin, Brett Jeremy. "The [skopos (romanized form)] of scripture as [paideia (romanized form)] Origen's hermeneutics, lectio divina, and a sacramental model of reading scripture /." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.
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Allen, Stuart James. "Wordsworth, aesthetics and allegory : a critique of second nature." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249794.
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Gorman, Sara Elizabeth. "Transformative Allegory: Imagination from Alan of Lille to Spenser." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10916.
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This dissertation traces the progress of the personified imagination from the twelfth-century De planctu Naturae to the sixteenth-century Faerie Queene, arguing that the transformability of the personified imagination becomes a locus for questioning personification allegory across the entire period. The dissertation demonstrates how, even while the imagination seems to progress from a position of subordination to a position of dominance, certain features of the imagination's unstable nature reappear repeatedly at every stage in this period's development of the figure. Deep suspicion of the faculty remains a regular part of the imagination's allegorical representation throughout these five centuries. Within the period, we witness the imagination trying to assert its allegorical position in the context of other, more established allegorical figures such as Reason and Nature. In this way, the history of the personification of the imagination is surprisingly continuous from the twelfth to the sixteenth centuries. This "continuity" is not absolute but functions as a consistent recombination of a standard set of features of and attitudes toward imagination that rematerializes regularly. In order to understand this phenomenon at any point in these five centuries, it is essential to examine imagination across the entire period. In particular, the dissertation discovers an alternative, more nuanced view of the personified imagination than has thus far been posited. The imagination is a thoroughly ambivalent character, always on the cusp of transformation, and nearly always locked in a power struggle with other allegorical figures. At the same time, as the allegorical imagination repeatedly attempts to establish itself, it becomes a locus for intense questioning of the meaning and process of personification. The imagination remains transformative, uncertain, and at times terrifying throughout this entire period.
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Geary, Matthew Kevin. "T.S. Eliot and the mother : ambivalence, allegory and form." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6948/.
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This thesis is the first full-length study on T. S. Eliot and the mother in thirty years. Responding to a shortfall in Eliot studies in understanding the true importance of Eliot’s poet-mother, Charlotte, to his life and works, it rethinks Eliot’s ambivalence towards women in the context of mother-son ambivalence, and shows his search for belief and love as converging with a developing maternal poetics. Utilising the work of feminist and psychoanalytic thinkers seeking to reinstate the mother against Oedipal models of masculinity, it looks at Eliot’s changing representations and articulations of the mother/mother-child relationship—from his earliest writings to the later plays. Particular focus is given to mid-career works: ‘Ash-Wednesday’, ‘Marina’, ‘Coriolan’ and The Family Reunion. Drawing on newly available materials, this thesis emphasises Charlotte’s death as the decisive juncture marking both Eliot’s New Life and the apotheosis of the feminine symbolised in ‘Ash-Wednesday’. Central to this proposition is a new concept of maternal allegory as a modern mode of literary epiphany. This thesis breaks new ground revealing the role of the mother and the dynamics of mother-son ambivalence to be far more complicated, enduring, changeable and essential to Eliot’s personal, religious and poetic development than was previously acknowledged.
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Brljak, Vladmir. "Allegory and modernity in English literature c. 1575-1675." Thesis, University of Warwick, 2015. http://wrap.warwick.ac.uk/73270/.
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The thesis examines the place of allegory in the literature and intellectual culture of sixteenth-and seventeenth-century England, especially in its complex and contested relationship to the notion of the period’s (early) modernity. What is modernity’s quarrel with allegory? Why does it run so deep in Western thought, and why has it remained with us to the present day? What specific forms does this quarrel assume in the literary culture of the period now commonly designated as “early modern”? Why has allegory, under its many names, remained a point of differentiation and dispute between various sets of ancients and moderns even into our – some would say “postmodern” – times? Even as scholarship on allegory grows increasingly comprehensive and sophisticated, commentary on these issues has remained sporadic and inconclusive, and the thesis seeks to provide a more focused and comprehensive examination of the subject than has thus far been available. In terms of its format, the thesis pursues with these concerns through three chapters – on “Allegory and Poetics”, “Allegory and Drama”, and “Allegory and Epic” – preceded by an Introduction on “Allegory and Modernity”, and followed by an Afterword on “(Neo)allegory and (Anti)modernity”. The Introduction and Afterword discuss the broader questions raised by the allegory-modernity problem, and thus constitute a polemical frame for the three “case studies” on poetics, drama, and epic, which engage particular sixteenth- and seventeenth century texts and traditions. These range from such canonical staples as Sidney’s Defence of Poesy, Shakespeare’s Hamlet, or Milton’s Paradise Lost to numerous other, less well known, but no less important works. In reconsidering the place of allegory in this corpus, the thesis is primarily intended as a contribution to English literary and intellectual history. On a broader level, it is also intended as a contribution to the more comprehensive project of “allegory studies”: the emergent nexus of interdisciplinary scholarship tackling those comprehensive and fundamental issues raised by the phenomenon of allegory which transcend particular discipline-, period-, or author-focused contexts. The thesis thus hopes to demonstrate the signal importance of the allegory-modernity problem in any advanced understanding of the Western allegorical tradition, at the same time as it sheds new light on what is in many ways the most important and most contested period – apart from our own, perhaps – in the history of this tradition.
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Fonteyn, David Michael English Media & Performing Arts Faculty of Arts & Social Sciences UNSW. "Ecological allegory: a study of four post-colonial Australian novels." Publisher:University of New South Wales. English, Media, & Performing Arts, 2009. http://handle.unsw.edu.au/1959.4/43630.
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This thesis examines four novels as case studies of the mode of allegory in post-colonial Australian literature Allegory is a mode of fiction in which a hidden narrative is concealed below a surface narrative. Furthermore, when the hidden narrative is revealed, the surface narrative and its discursive codes become transformed. Post-colonial critics have argued that one aspect of post-colonial literature is the use of allegory in a way that the hidden narrative interpolates the surface narrative. This process of allegorical interpolation is one of the ways post-colonial literature is able to transform colonial discourses. Through an analysis of the four novels, I argue that allegory is a significant aspect of both Indigenous and non-Indigenous Australian writing in its depiction of the natural environment and the settler nation. Bringing together ecological theory with post-colonial theories of allegory, I coin the term 'ecological allegory' to describe a specific type of allegory in which nature as subject becomes revealed within the 'hidden' narrative of the text. Through this process of interpolation, the literary representation of the land is being transformed as the natural environment is depicted as a dialogical subject. In the explication of the four novels as ecological allegories, I provide new readings of two canonical Australian texts, Remembering Babylon and Tourmaline, as well as, readings of two lesser known Indigenous Australian texts, Earth and Steam Pigs. I argue that theories of ecology provide a means for understanding the texts' representation of nature as subject. The allegorical mode of the novels offers a literary form whereby the natural environment as subject may be able to be represented in discursive language. Furthermore, in these allegories, the polysemy in the written mode of Australian literature is able to express the oral Indigenous worldview of Country, the land as a living entity. The claim that these texts are constructed as allegories, rather than simply reading the texts allegorically (known as allegoresis), combined with the methodology of ecological theory, to create a new term - ecological allegory - is an original way of reading Australian literature. Furthermore, my term 'ecological allegory' is an innovation in literary theory and its understanding of literary representations of the natural environment.
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Whitaker, Jay Ernest. "Aesthetic representations of history : the question of the national allegory /." Electronic version (PDF), 2006. http://dl.uncw.edu/etd/2006/whitakerj/jaywhitaker.pdf.
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Mier, Raymundo. "Freud and secrecy : allegory, aesthetic and silence in psychoanalytic theory." Thesis, Queen Mary, University of London, 1996. http://qmro.qmul.ac.uk/xmlui/handle/123456789/25730.
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The thesis seeks to explore one of the most singular features of Freudian thought, his radical position in the history of the ideas about language. One of my chief claims is that the Freudian endeavour is not oriented towards a conclusive theory of language as such, but of the conditions of its destruction, its exhaustion, its silence. The obscure centre of Freud's work, the passion for the shattering of language, manifests itself both as an affirmation and as a dissipation of the sense of speech, which cast some light upon the cardinal role of the notion of secrecy, not only in his comprension of language, but also in his conception of subjectivity. Thus, secrecy can be conceived as a fundamental feature of different facets of his writings. The first facet exhibits psychoanalysis as the inheritor of the progressive emergence of silence in the core of modern thought. I argue that the logic of secrecy which appears in Freud's early writings enacts the historical emergence of secrecy which pervaded different discourses of the nineteenth century. This singular logic had its origin at the confluence of the exalted discourses which enthrowned observation and experience in the positivistic conception of knowledge bred by the Enlightenment, the obscure cults of magnetism and the speculative conceptions of subjectivity which emerged from the crisis of the Enlightenment, with the rising of Romanticism and its powerful effects on the Western culture. The second facet exhibits the logic of secrecy as expressed by the acts of language. Secrecy introduces an inner discord in the meaning of signs: it reveals the obsolescence of the referential notion of truth. Allegory emerges from this discord as a privileged aesthetic and theoretical expression. Freud's theoretical creativity canceled the significance of the referential, discursive notion of truth with the violent implications of the notion of primary thought processes and a conception of primal experiences of pleasure and pain irreducible to the narrow margins of rationality. The radical dissipation of the conventional foundations of semantic truth brought into focus an aesthetic -Baroque~ conception of subjectivity. This vision pervades Freud's notion of psychical processes, and engendered a constellation of forms of theoretical expression: psychical processes were apprehended by allegorical figures: the fold, rhythm, movement, displacement involving paradoxical temporalities which offered a contrasting landscape of thought processes that informed desire and aroused anxiety; Freud created thus a theoretical chiaroscuro. A third facet involves two further Freudian notions: sexuality and pain. One of them, sexuality, is almost too notorious in Freud's work; the other, pain, was permanently and explicitly displaced, silenced, excluded. or even emphatically avoided in Freud's writings, and yet it is an notion inherent in his conception of subjectivity. Freud's subversion of the modem notion of experience might be thought of as founded upon his conception of the experience of pain as a constitution~ dimension of subjectivity, as its unspeakable, unapproachable, secret centre.
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O'Sullivan, James Stephen. "Cormac McCarthy's cold pastoral : the overturning of a national allegory." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/54015/.
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This dissertation will argue that the novels of Cormac McCarthy represent a sustained attack on American literature's abiding fixation with pastoral. It further argues that such a fixation is very much a national allegory, one that, paradoxically, cannot help but produce a sense of doubt lurking beneath the numerous assertions of individual and national confidence. Cormac McCarthy very much engages with the antinomies of this national allegory. His use of pastoral allegory comes in the form of a broken allegory: a strategy that is very much in keeping with Walter Benjamin's vision of allegorical fragmentation resulting from permanent historical crisis. This crisis, as McCarthy shows, reaches tipping-point in the modern era: the pastoral's dream of ‘pure-utility' is shown to be completely incompatible with the predominance of exchange value and commoditized social relations. The study is in four parts. The first section divides the first four novels in order to explore how they shatter the South's notion of uniqueness through a depiction of a desecrated pastoral. The second section considers the novel Blood Meridian on its own in order to demonstrate how the novel's absurdist renunciation of pastoral and the western mythos helps set up the late novels themes of generic and cultural termination. The third looks at the Border Trilogy, and discusses how recourse to the more open wildernesses of the south-west curiously introduces a countervailing theme of disenchantment and pastoral attenuation. The fourth and final section groups together No Country for Old Men and The Road, in order to argue that these late novels elicit a final rejection of pastoral as it collides headlong with the imaginary of late-capitalism.
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Perysinakis, Reem Maria. "Shifting targets in Reformation allegory : five case studies, 1515-1575." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/60799/.
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This thesis explores the shifting targets of evil in English Reformation allegory during particularly turbulent social and religious changes, between 1534 and 1575, when the notion of evil was used as a polemical weapon by authors with a progressive reformist agenda. I examine how the concept of evil, as delineated by the philosophy of ‘moral absolutism', and its associated theological theories, although remained static (good and evil are defined in a diametrically opposed construct, and determined by a deity), the nature of evil (whether evil is something we all have within us or is an external force) changed from a pre-Reformation construct to a Reformation configuration, and the targets of that which was considered evil shifted thereafter. I employ a historicist and intertextual approach, where meaning does not reside in the text. Instead, meaning is produced by my own reading in relation both to each text under scruitiny and to the network of texts invoked in the reading process, which is conducted within the context of each of these texts' social, political, theological and cultural history. I draw on biographical, political, and theological accounts, alongside literary texts and analysis, focusing on five specific case studies from 1515 to 1575. Plays by John Skelton, John Bale, Nicolas Udall, Lewis Wager and prose by William Baldwin are analysed in conjunction with contemporary literary works and tracts, which include those by William Tyndale, Bernadino Ochino, John Frith, Robert Crowley, Edmund Dudley, Thomas More, John Knox and Anthony Gilby. I examine texts that have received considerable scholarly attention, with the aim of focusing on their polemical targeting of individuals, groups and institutions via allegorical evil characterisation. I argue that scholarship has neglected to engage with a crucial facet of the texts under scrutiny: one that can provide important additional insights into Reformation allegory, and the particularly fractious and contested instances of Tudor history that produced them.
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Brummer, Esther Elliott. "The development of the Nuptial Allegory in early modern Venice." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609942.
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Vogt, Loiva Salete. "A study of the Great Gatsby as a national allegory." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/7911.
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A presente dissertação aborda a questão da experiência nacional representada alegoricamente no romance –O Grande Gatsby. Meu objetivo é estudar esta relação baseada na sedução estética do romance e a sua proposta de redirecionamento do Sonho Americano dos anos 20. Estudos Culturais e de Gênero fazem parte do embasamento teórico na observação de valores que são questionados e/ou perpetuados através de representações de gênero, classe social, raça e etnia no romance. A organização espacial da narrativa é entendida como um sistema estrutural em que o pertencimento de personagens a determinados “lugares” e cenários gera relações hierárquicas de poder, representadas por polaridades espaciais. Este trabalho sugere que os privilégios de algumas posições sociais estão representados alegoricamente na narrativa. O conceito de alegoria de Walter Benjamin enfatiza o estudo da temporalidade associada ao espaço narrativo e permite que se faça uma leitura do sentido gerado por essas representações, na medida em que expõe, e não omite, as contradições da narrativa. Estas remetem à impossibilidade de concretização histórica do Sonho Americano que é questionado e também re-valorizado através de sua ligação a um ideal pastoril em conflito com as demandas de uma ideologia marcadamente materialista no período entreguerras. Desta forma, a sobreposição de níveis temporais no romance liga a crença do excepcionalismo americano, patriotismo e herança cultural a um imaginário pastoril, em que uma versão do passado é legitimada e projetada para o futuro nacional.This dissertation approaches the issue of a national experience represented allegorically in the novel – The Great Gatsby. My aim is to study this relation based on the novel’s esthetical seduction and its proposal of representing the new directions of the American Dream in the 1920s. Cultural and Gender Studies are employed as theoretical tools in order to observe the values questioned and/or perpetuated by the novel’s representation of gender, social class, race and ethnicity. The spatial organization of the narrative is conceived as a structural system in which the characters’ sense of belongingness to specific places and settings creates their hierarchical relations of power, represented by space polarities. This dissertation hopes to prove that specific social positions are inscribed allegorically in the narrative as owners of privileges in the representation of society. Walter Benjamin’s concept of allegory emphasizes the study of temporality, which is associated to space in the narrative, and allows one to conceive the meanings created by the mentioned representations, exposing the narrative’s contradictions. They lead to the historical impossibility of fulfillment of the American Dream. In the novel, the dream is questioned and also re-valued due to its link to a pastoral ideal in conflict with the demands of a materialistic ideology in the world war period. In this sense, the superposition of temporal levels in the novel connects a belief in American exceptionalism, patriotism and cultural heritage to a pastoral imagery, in which a version of the past is legitimized and projected to a national future.
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Ohler, Paul Joseph. "Edith Wharton's "evolutionary conception" : Darwinian allegory in her major novels /." New York : Routledge, 2006. http://catalogue.bnf.fr/ark:/12148/cb40149832g.
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Leatham, Jeremy S. "Beyond Eden: Revising Myth, Revising Allegory in Steinbeck's "Big Book"." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/2190.
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Steinbeck's use of allegory in East of Eden has caused much critical resistance, but recent work in allegory theory offers ways of rereading the novel that help mediate much of this criticism. The approach to allegory forwarded here, which allows for multiple bodies of referents and fluidity between text and referents, empowers readers with greater autonomy and individual authorship. In the case of East of Eden such an approach moves the novel beyond a simple retelling of the Cain-Abel narrative to establish a flexible mythic framework for use in an ever-changing world. By challenging dualistic thinking, narrow vision, and cultural inheritance, this framework seeks to order the world in ways that allow for a greater range of humanity and agency. A consideration of early 1950s America demonstrates the relevance of such a framework in a given historical moment.
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Murphy, Jennifer Marie. "Allegory and Interpretation in Heinrich Aldegrever's Series Virtues and Vices." Master's thesis, Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/464757.
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Art HistoryM.A.
Heinrich Aldegrever (1502-1555) was a highly skilled and innovative printmaker working around the area of Westphalia during the sixteenth century. He used complex systems of allegory and adapted established visual codes, such as those of traditional heraldry, to engage his audience to unpack the meaning of his work and set himself apart from his contemporaries. However, due to Aldegrever’s stylistic similarities to both Albrecht Dürer and the so-called German ‘Little Masters’ working in Nuremberg, his prints are often given the short shrift by modern historians, who have considered his images unoriginal or derivative. Through a close study of Aldegrever's 1552 series of engravings depicting the Christian Virtues and Vices, this paper rectifies this scholarly oversight and attempts to restore Aldegrever's place among the great masters of the printed image in the generation immediately following Dürer. As this subject matter of Virtues and Vices was popular among printmakers and their targeted audiences, I compare Aldegrever’s series with similar works from his immediate predecessors and contemporaries to show that his Virtues and Vices are, in fact, more innovative than previously thought in their invocation of ancient texts and complex iconographic twists, and worthy of scholarly discussion on their own terms for values of effective marketability and artistic imitation.
Temple University--Theses
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Asiedu, Felix B. A. "Interpreting Galatians 4:21-31 the allegory of Hagar and Sarah /." Theological Research Exchange Network (TREN), 1992. http://www.tren.com.
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Li, Xu. "A postmodernist parodic allegory : Thomas Pynchon's The Crying of Lot 49." Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2554106.
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Lawson, Helen Margaret. "Navigating Northumbria : mobility, allegory, and writing travel in early medieval Northumbria." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25938.
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The social fact of movement is a significant underlying feature of early medieval Northumbria, as it is for other regions and other periods. The eighth-century Anglo- Latin hagiographical tradition that centres on Bede (673-735) is not known for its articulacy concerning travel, and what is expressed might well be overlooked for its brevity. This thesis explores the relationship between allegories and symbolism, and the underlying travel-culture in prose histories and hagiographies produced in Northumbria in the early eighth century. It demonstrates the wide extent to which travel was meaningful. The range of connotations applied to movement and travel motifs demonstrate a multi-layered conceptualization of mobility, which is significant beyond the study of travel itself. In three sections, the thesis deals first with the mobility inherent in early medieval monasticism and the related concepts that influence scholarly expectations concerning this travel. The ideas of stabilitas and peregrinatio are explored in their textual contexts. Together they highlight that monastic authors were concerned with the impact of movement on discipline and order within monastic communities. However, early medieval monasticism also provided opportunities for travel and benefitted from that movement. Mobility itself could be praised as a labour for God. The second section deals with how travel was narrated. The narrative role of sea, land, and long-distance transport provide a range of stimuli for the inclusion and exclusion of travel details. Whilst figurative allegory plays its part in explaining both the presence and absence of sea travel, other, more mundane meanings are applied to land transport. Through narratives, those who were unable to travel great distances were given the opportunity to experience mobility and places outside of their homes. The third section builds on this idea of the experience of movement, teasing out areas where a textual embodiment of travel was significant, and those where the contrasting textual experience of travel is illustrative of narrative techniques and expectations. This section also looks at the hagiographical evidence for wider experiences of mobility, outside of the travel of the hagiographical subjects themselves. It demonstrates the transformation of the devotional landscape at Lindisfarne and its meaning for the social reality of movement. This wide-ranging exploration of the theme of mobility encourages the development of scholarship into movement, and into the connections between travel and other aspects of society.
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King, Lissette N. (Lissette Nicol). "A figure of enormity : Thomas Mann's Der Erwählte as political allegory." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60610.
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Thomas Mann's novel Der Erwahlte explores the concepts of sin, contrition, and eventual redemption through the life of the sinful pope Gregorius. The concept of enormity provides the link between the seemingly esoteric subject of his novel and the history of Germany under Nazi rule. He draws a direct, if subtle, parallel between German fascism and Gregorius' sins. The hero's sin, his penance, and his redemption are all overwhelming, thus providing the connection with German national character and history as understood by Mann. By examining the deep structure of the novel's imagery and plot in conjunction with Mann's political speeches, this thesis reveals these underlying similarities, and the essentially positive message which the novel finally conveys. The use of language and the Gregorius legend to express Mann's deep-rooted belief in the fundamental unity of European culture is also examined.
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Whitehead, Christiania. "Castles of mind : an interpretative history of medieval religious architectural allegory." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282014.
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Mussio, Eva. "Allegory in Joseph and Aseneth : three studies of narrative and exegesis." Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/49065/.
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The present work considers the novel of Joseph and Aseneth (J & A) as an allegorical text which was transmitted in various cultural environments, potentially from the poly-cultural background of Hellenistic Judaism to the time of the novel's extant manuscripts in the Middle Ages and the Renaissance. While positing that J & A was conceived as a versatile text around the time of the rise of the ancient Greek novel, the thesis highlights the sophisticated literary features of this religious text. In fact, the imagery of J & A is loaded with further significance, touching upon mystical themes which can be compared with pagan testimonies of arcane lore and mysteries. Moreover, typical scenes in J & A are devised by means of complex rhetorical strategies, which contributed to the addition of further senses to the story. Indeed, the allegorical discourse which can be detected in J & A conferred to the novel a plain narrative surface, while leaving a deeper significance for its readers and interpreters to decode. In this respect, J & A is brought closer to Classical texts such as the ancient novels and Homeric literature, because its narrative allowed subsequent interpretations and even adaptations of the story in different cultural and religious contexts. While points of contact between J & A and pagan, Jewish and Christian allegorical texts may be only suggestive, the present analysis hopes to envisions a few proposals for the early purpose and aftermath of J & A from its hypothetical original milieu in Hellenistic Judaism to the end of Antiquity.
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Rahwan, Yamen Rahmoun. "Constellations of allegory : Gabriel García Márquez, Angela Carter and J.M. Coetzee." Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/35575/.
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This thesis has two aims. First, it is a study of the idea of allegory and some of its literary manifestations within the context of late modernity. It attempts to disentangle and critically evaluate the multitude of theories and definitions that have been mobilised around this problematic term. Through an analysis of these theories, this study attempts to establish a critical use of allegory that preserves the insight of these varying notions of allegory by advancing the following twofold hypothesis. The first side of this hypothesis posits allegory as a distinct generic trope in which characters are engaged in a quest or a journey that involves the recognition and interpretation of metaphors and metonyms, with an aim to arrive at an "interpretative utopia" in which signifier and signified coincide. This is a definition that Deborah Madsen constructs and that this thesis embraces but revises. The second side of the hypothesis proposes that in the allegories of late modernity the recognition and interpretation thematised are historically variable and must be understood in relation to specific historical contexts. This assumption informs the examination and deployment of, amongst others, Fredric Jameson’s ideas of the national allegory and the postmodern allegory; Walter Benjamin’s theorisation of allegory, melancholia and the dialectical image; Paul de Man’s study of the relation between allegory, irony and subjectivity; and Theodor W. Adorno’s philosophy of ethics and its relation to allegory. The second aim of the thesis is to put these critical insights to work in a dialectical relationship with the fiction of Gabriel García Márquez, Angela Carter, and J.M. Coetzee. All the novels chosen thematise the failure of a utopian coincidence of signifier and signified, sign and meaning, a failure which conditions the understanding of capitalist modernity. The consequences of that failure are dramatised differently, in accordance with the specific experience of modernity in each case. In the context of the uneven development of Latin America, the continental allegories of García Márquez deal with the themes of melancholy and power, the accumulation of allegorical fragments and the potentiality for dialectical images. In the postmodernist allegories of Angela Carter, the failure of interpretation reflects a larger cultural dominant of commodification and fetishisation of the signifier. The postcolonial allegories of J.M. Coetzee deal with the cognitive failures of an identity thinking which underlies the Manichean allegory of coloniser and colonised, a failure that results in ethical melancholia. Overall, while positing their common use of generic allegory to deal with these crises of recognition and interpretation, the thesis emphasises the differences rather than the similarities of these writers. This convergence in one area but divergence in others throw a questioning light on the discussion of Franco Moretti’s idea of conducting a study in "world literature" via the use of "distant reading". Through examining Moretti’s method, the thesis shows that allegory is a dynamic problematic rather than a fixed conceptual term.
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Reed, Kristopher Guy. "VISIONING THE NATION: CLASSICAL IMAGES AS ALLEGORY DURING THE FRENCH REVOLUTION." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4008.
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In the latter half of the Eighteenth Century, France experienced a seismic shift in the nature of political culture. The king gave way to the nation at the center of political life as the location of sovereignty transferred to the people. While the French Revolution changed the structure of France's government, it also changed the allegorical representations of the nation. At the Revolution's onset, the monarchy embodied both the state and nation as equated ideas. During the Revolutionary Decade and through the reign of Napoleon different governments experienced the need to reorient these symbols away from the person of the king to the national community. Following the king's execution, the Committee government invented connections to the ancient past in order to build legitimacy for their rule in addition to extricating the monarchy's symbols from political life. During the rule of Napoleon, he used classical symbols to associate himself with Roman Emperors to embody the nation in his person. Through an examination of the different types of classical symbols that each government illustrates the different ways that attempted to symbolically document this important shift in the location of sovereignty away from the body of the king to the nation.M.A.
Department of History
Arts and Humanities
History MA
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Senior, Rebecca. "The death of allegory? : problems of the funerary monument, 1762-1840." Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/18289/.
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This thesis traces the transformative potential of allegory as an adaptable sculptural art form in Britain between 1762 and 1840, and provides a detailed analysis of monuments that demonstrate how allegory was manipulated perform and manage changing attitudes towards capitalism, race, gender and empire. By focusing on a variety of monumental sculptures – funerary monuments, political monuments, and war memorials - in a variety of settings – public cathedrals, private churches and colonised spaces – this thesis demonstrates how allegory operated across a variety of sculptural media in the British empire, and reveals a commonality between sculptors who have been separated by period, geography and counter-productive art historical ‘–isms’. In so doing, it presents allegory as a new lens through which to view an alternative history of monumental sculpture in Britain, which acknowledges underlying motivations of greed, misogyny and xenophobia as central to the formation of what we understand today as the British school.
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Butler, Charles. "Spenser's allegorical decorum : analogical and exemplary allegory in 'The Faerie Queene'." Thesis, University of York, 1989. http://etheses.whiterose.ac.uk/10894/.
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