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Journal articles on the topic 'Allegory'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Lanzinger, Daniel. "Allegory Transformed." Biblische Zeitschrift 55, no. 1 (November 21, 2011): 151–52. http://dx.doi.org/10.1163/25890468-055-01-90000023.

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12

WOOTTON, DAVID. "Ambiguous allegory." Art Book 1, no. 5 (December 1994): 7. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00227.x.

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13

Larkin, Brian. "National Allegory." Social Text 27, no. 3 (2009): 164–68. http://dx.doi.org/10.1215/01642472-2009-030.

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14

Hung, Ruth Y. Y. "Against Allegory." boundary 2 47, no. 4 (November 1, 2020): 25–61. http://dx.doi.org/10.1215/01903659-8677827.

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More than ten years on from the 2008 financial crisis, two trends of global statism remain dominant: Beijing-led “exceptional neoliberalism” and the emerging “illiberal democracy” topped by Trumponomics, with racist populism looming at the back of both. Even though these persistent programs are remnants of the ideological, national, and economic wars of the previous century, the boundary separating them is permeable. Jiang Rong 姜戎’s prizewinning novel, Wolf Totem 《狼图腾》, helps us see this porosity. Wolf Totem is the first “Chinese Cultural Revolution” (fictional) memoir written explicitly for Chinese nationals and yet goes on to engage the sensibility of readers from a Western historical and ideological context. This essay critically identifies certain acts of reading Wolf Totem and looks at the way these selected readings, all allegorical in their approach, step across the literary subject to build symbolic extensions that stretch thin the wolves for various purposes. Collectively, such acts of reading expose both an important quality of our historical moment and the ideological function of literary intellectuals within it. They show that our era is one of skepticism about the status quo, one in which certain antidemocratic drives commiserate over historical conflicts and strategize for an extended, ongoing, and relentless process of global dominance. The popular reception of Wolf Totem crystallizes the thrust and conduct of these seeming competing drives. In the final analysis, this essay follows through the symptoms of these drives to reveal a kind of energetics or “primitivist social ethos” alive in the unified way humanity makes extinct any life forms unsubscribed to global statisms in their Beijing or “illiberal democratic” forms.

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15

Martin, C. G. "Reinventing Allegory." Modern Language Quarterly 60, no. 3 (January 1, 1999): 426–28. http://dx.doi.org/10.1215/00267929-60-3-426.

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16

Wilson, Douglas B., and Theresa M. Kelley. "Reinventing Allegory." Albion: A Quarterly Journal Concerned with British Studies 31, no. 2 (1999): 281. http://dx.doi.org/10.2307/4052755.

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17

Enders, Jody. "Allegory Plays." SEL Studies in English Literature 1500-1900 55, no. 2 (2015): 447–64. http://dx.doi.org/10.1353/sel.2015.0018.

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18

Clover, Joshua. "Allegory Bomb." Film Quarterly 63, no. 2 (2009): 8–9. http://dx.doi.org/10.1525/fq.2009.63.2.8.

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19

Ramspeck, Doug. "Wasp Allegory." Pleiades: Literature in Context 39, no. 1 (2019): 142–43. http://dx.doi.org/10.1353/plc.2019.0043.

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20

Olusegun-Joseph, Yomi. "Transethnic Allegory." Third Text 28, no. 6 (November 2, 2014): 517–28. http://dx.doi.org/10.1080/09528822.2014.970772.

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21

Goodheart, Eugene. "Sports Allegory." Society 48, no. 6 (October 4, 2011): 526–29. http://dx.doi.org/10.1007/s12115-011-9476-x.

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22

Cobb, Tom. "Nietzschean Allegory." MHRA Working Papers in the Humanities 12 (March 4, 2018): 60–69. http://dx.doi.org/10.59860/wph.a166291.

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23

Bakewell, Geoffrey. "Mining Plato’s Cave: Silver Mining, Slavery, and Philosophical Education." Polis: The Journal for Ancient Greek and Roman Political Thought 40, no. 3 (September 20, 2023): 436–56. http://dx.doi.org/10.1163/20512996-12340417.

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Abstract The Allegory of the Cave (Pl. Resp. 514a1–520e2) is often analyzed in terms of metaphysical, epistemological, political, and psychic hierarchies that are clarified and reinforced by philosophical education. But the Allegory also contains an important historical allusion to the silver mining that took place in classical Attica. Examining the Cave in light of the enslaved miners around Lavrio leads us to reconsider the philosophical ‘liberation’ (λύσιν … τῶν δεσμῶν, 515c4) at the Allegory’s heart in the context of Athenian slavery and Plato’s thoughts on the practice. Elsewhere in his work Plato generally uses servile metaphors in two ways: to depict ‘bad’ internal psychic subjection and ‘good’ submission to logos as manifested in various entities. This historical dimension of the Allegory works to undermine the ostensible naturalness of the slave/citizen distinction and suggest that philosophical education has the potential to ‘free’ the former and ‘subjugate’ the latter. The implication that these juridical categories are, to an extent, arbitrary and mutable reveals important differences between Plato’s views and those of his classical peers, and it adds to the dialogue’s protreptic dimension for its readers then and now.

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24

Highfill, Jannett K. "Economics as Allegory." Journal of Interdisciplinary Economics 4, no. 2 (January 1992): 131–36. http://dx.doi.org/10.1177/02601079x9200400202.

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The paper consists of an investigation of Donald McCloskey’s proposition that economic journals contain both metaphors and allegory. The first section consists of a definition of allegory where it is shown that the defining trait of allegory is that it can be read on two levels, the literal and the figurative or allegory. This definition is then used to show (in the second section) that while narrative economic allegories can certainly be written, such economics narratives as the typical “Robinson Crusoe Allegory” are not, in fact, allegory. An example of an economic narrative which is allegory is provided. The second section concludes by demonstrating that mathematical economic models are allegory, and an example is given. In the third section it is shown that both the literal and figurative levels of mathematical economic models are abstract, and that this fact has important implications for the use of empirical data in economics.

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25

Lee, Byung Seong. "A Study on Educational Implications of ‘Allegory of Cave’ in Plato’s Republic." Educational Research Institute of Kongju National University 37, no. 2 (February 28, 2023): 1–19. http://dx.doi.org/10.31366/jer.2023.37.2.1.

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The aim of this study is to analyze and translate ‘Allegory of Cave’ in Plato’s Republic, vol. 7 from an educational perspective, focusing on the unique meaning and importance of allegory. For achieving this aim, researcher firstly tried to reconstruct forms of this allegory, introduced by Plato in a conversational type step by step, and tried to identify many educational implications involved in this allegory in three main aspects. Conclusions are as follows; Firstly, researcher found that concept of ‘conversional education’ handled as important assignment of educational work in allegory. In view of this suggestion, educators would be rethinking critically and be prepared to change their traditional concept of education. Secondly, researcher found that removing prejudices or preconceptions is an important assignment for educational activities in this allegory. In view of this discovery, educators would make efforts to remove prejudices or preconceptions before teaching specific knowledge or information. Lastly, researcher discovered that one of the important attitudes of educators is to have the humanity toward ignorant and stupid people in the allegory. In this view, educators would provide their own true knowledge or information to the ignorant. In addition to this implications, researcher tried to suggest the possibilities of re-translating the ‘Allegory of Cave’ for having meaningful connotations and implications.

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26

Toscano, Alberto. "Elsewhere and Otherwise." Historical Materialism 29, no. 1 (March 22, 2021): 113–22. http://dx.doi.org/10.1163/1569206x-29010101.

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Abstract This text introduces the symposium on Fredric Jameson’s Allegory and Ideology (2019), the second volume in his six-part The Poetics of Social Forms. It frames the debate with a brief exploration of some of the figures and problems of allegory that appear across Jameson’s œuvre, and surveys some of the Marxist conceptualisations of allegory that have shaped Jameson’s approach, as it straddles allegories of the commodity and allegories of utopia. The musical investigation of the nexus of allegory and affect, and the presentation of political allegory as primarily concerned with the disjunction between (national and international) levels are also touched upon as salient dimensions of Jameson’s theorising.

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27

Pedullà, Gabriele. "‘Everything for Me Turns into Allegory’." Historical Materialism 29, no. 1 (February 26, 2021): 198–210. http://dx.doi.org/10.1163/1569206x-12342002.

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Abstract While being an important tile of Jameson’s whole theoretical project, Allegory and Ideology leaves some key questions not fully answered. Briefly put, these questions concern the meanings and limits of allegory; the unstable relationship between allegory and allegoresis in the Western cultural tradition; and the special place allegory plays or could play in postmodern culture. Solving these problems – in the footsteps of Jameson’s magisterial inquiry – will be crucial especially for Marxist critics.

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28

Qizi, Rajapova Malika Ahmadali. "The Universal Nature of The Allegorical Concept." Journal of Advanced Zoology 44, S1 (December 14, 2023): 1164–68. http://dx.doi.org/10.17762/jaz.v44is1.2789.

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Allegory is a stylistic trope as well as literal device which helps author and reader to understand main meaning of the text in an interesting way. The following article discusses the universal nature of allegory and shows stylistic means of allegory.

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29

Crisp, Peter. "Allegory: conceptual metaphor in history." Language and Literature: International Journal of Stylistics 10, no. 1 (February 1, 2001): 5–19. http://dx.doi.org/10.1177/0963-9470-20011001-01.

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Far from denying the importance of social contexts, a commitment to the existence of universal, human, mental properties deepens our understanding of such contexts by directing our attention to how they interact with such properties. One universal mental property appears to be the cognitively central role of metaphor. The study of the surface, linguistic or otherwise, manifestations of conceptual metaphor is important for its interaction with specific contexts. Allegory is one such surface manifestation. The study of western allegory should provide important insights into the roles of conceptual metaphor in western cultures. The concept of allegory as a sharply differentiated category dates from the late 18th century. The earlier rhetorical tradition saw allegory, correctly, as part of the natural continuum of metaphorical expression. The study of allegory as a discourse form reveals both a set of universal pragmatic constraints and the way in which these constraints are exploited by specific contexts to produce unique generic constructs such as that of Prudentian allegory.

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30

Fischer-Lichte, Erika. "WALTER BENJAMIN’S ‘ALLEGORY’." American Journal of Semiotics 4, no. 1 (1986): 151–68. http://dx.doi.org/10.5840/ajs198641/212.

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31

Johnson, William C., and Sean Kane. "Spenser's Moral Allegory." Sixteenth Century Journal 22, no. 1 (1991): 120. http://dx.doi.org/10.2307/2542025.

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32

Paxson, James J., and Jeanne P. Brownlow. "Excavating Epochal Allegory." PMLA 108, no. 5 (October 1993): 1175. http://dx.doi.org/10.2307/463000.

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33

Johnson, Gary. "Thinking Allegory Otherwise." Pacific Coast Philology 47, no. 1 (January 1, 2012): 116–18. http://dx.doi.org/10.2307/41851038.

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34

Ross, Charles. "Thinking Allegory Otherwise." Pacific Coast Philology 47, no. 1 (January 1, 2012): 118–20. http://dx.doi.org/10.2307/41851039.

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35

Marshall, F. "The Great Allegory." Australian Journal of French Studies 26, no. 1 (January 1989): 12–51. http://dx.doi.org/10.3828/ajfs.1989.2.

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36

Han, Sang-Eon. "and Historical Allegory." Journal of the Korea Contents Association 13, no. 6 (June 28, 2013): 86–94. http://dx.doi.org/10.5392/jkca.2013.13.06.086.

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37

Hinojosa, Bernardo Sarmiento. "Why Medieval Allegory?" Qui Parle 30, no. 2 (December 1, 2021): 421–38. http://dx.doi.org/10.1215/10418385-9395345.

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38

Huxley, Andrew. "An Antinomian Allegory." Buddhist Studies Review 19, no. 2 (June 16, 2002): 137–46. http://dx.doi.org/10.1558/bsrv.v19i2.14358.

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39

Wells, Robin Headlam, and Gordon Teskey. "Allegory and Violence." Yearbook of English Studies 29 (1999): 280. http://dx.doi.org/10.2307/3508960.

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40

Betty Joseph. "NEOLIBERALISM AND ALLEGORY." Cultural Critique 82 (2012): 68. http://dx.doi.org/10.5749/culturalcritique.82.2012.0068.

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41

Clifford, James. "On Ethnographic Allegory." Sotsiologicheskoe Obozrenie / Russian Sociological Review 13, no. 3 (2014): 94–125. http://dx.doi.org/10.17323/1728-192x-2014-3-94-125.

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42

Thomas, John A., and Sean Kane. "Spenser's Moral Allegory." Rocky Mountain Review of Language and Literature 43, no. 4 (1989): 250. http://dx.doi.org/10.2307/1347018.

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43

Keightley, Keir. "Tin Pan Allegory." Modernism/modernity 19, no. 4 (2012): 717–36. http://dx.doi.org/10.1353/mod.2012.0081.

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44

Fletcher, A. J. S. "Allegory without Ideas." boundary 2 33, no. 1 (March 1, 2006): 77–98. http://dx.doi.org/10.1215/01903659-33-1-77.

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45

Baskind, Samantha. "Allegory versus Authenticity." Winterthur Portfolio 46, no. 1 (March 2012): 63–92. http://dx.doi.org/10.1086/665046.

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46

Krausmüller, Dirk. "Biography as allegory." Byzantine and Modern Greek Studies 37, no. 2 (August 2013): 161–75. http://dx.doi.org/10.1179/0307013113z.00000000028.

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47

Fletcher, A. S. "Allegory and Violence." Modern Language Quarterly 59, no. 3 (January 1, 1998): 396–400. http://dx.doi.org/10.1215/00267929-59-3-396.

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48

Milne, Joseph. "Medieval Mystical Allegory." Medieval Mystical Theology 27, no. 2 (July 3, 2018): 118–28. http://dx.doi.org/10.1080/20465726.2018.1545673.

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49

Johnson, Barbara E. "Allegory and Psychoanalysis." Journal of African American History 88, no. 1 (January 2003): 66–70. http://dx.doi.org/10.2307/3559049.

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50

Barr, James. "Allegory and Historicism." Journal for the Study of the Old Testament 21, no. 69 (March 1996): 105–20. http://dx.doi.org/10.1177/030908929602106907.

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