Relevant bibliographies by topics / Allusion

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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 'Allusion'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 March 2023

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Journal articles on the topic "Allusion"

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Valotka, Audrius. "The role of the addressee’s creativity in interpreting allusions." Lietuvių kalba, no. 10 (December 15, 2016): 1–42. http://dx.doi.org/10.15388/lk.2016.22595.

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The article interrogates the conventional conception prevalent in contemporary scientific discourse that the author is the only creator of an allusion, whereas the addressee can only understand the author’s idea / intention “correctly” or “incorrectly”. Based on the new perspective, this study discusses the communicative structure of allusions, investigates the mechanism of interpreting allusions and considers the issue of “arbitration” of meaning-making in interpreting allusions. The key insights offered in the study are as follows:a) Allusion is an open structure which the addressee can interpret in their own way. An adequate / correct understanding of the author’s idea is not a mandatory feature of an allusion.b) The role of the addressee in the process of understanding / interpreting allusions is as crucial as is the role of the creator of the allusion.c) The addressee interprets an allusion rather than trying to guess the author’s idea / intention behind it.d) Understanding of an allusion in a different way than intended by the author does not mean that the process of allusion interpretation is over.e) An allusion which is interpreted differently than intended by the author does not lose its characteristic features.f) The “correctness” of interpreting an allusion may be determined by a person whose background knowledge encompasses both the background knowledge of the author and that of the addressee.On the basis of these theoretical premises, this study continues a previous analysis based on the empirical linguistic data reported in the article Perception of intertexts and identification of the cultural circle in publicistic texts by Rimvydas Valatka (published in the research journal Lietuvių kalba (‘The Lithuanian Language’), Issue 10 (2016)), www.lietuviukalba.lt. Applying the method of respondent testing, the previous study looked at the way contemporary youth perceive unmarked intertexts (primarily allusions) encountered in Lithuanian mass media. The results of the study revealed that Vilnius University students between 18 and 20 years of age are able to recognise and adequately interpret only one fourth of precedent texts alluded to in publicistic texts by Rimvydas Valatka. Respondents showed the highest results in the recognition of cinematographic (49%) and biblical (37%) precedent texts and the lowest results in the identification of historical (12%) precedent texts. The results of the empirical research have demonstrated that precedent texts “migrate” between different areas which correspond to relevant background knowledge of the addressees.
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Zubakina, T. N. "Poetic Allusion of J. Milton’s Poem “Paradise Lost” in Historical Discourse of W. Churchill." Nauchnyi dialog 11, no. 8 (October 29, 2022): 9–23. http://dx.doi.org/10.24224/2227-1295-2022-11-8-9-23.

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Literary allusion in historical discourse is considered as a means of enhancing the semantic and aestheticemotional content of the text. The results of studying the semantics of allusive units in the works of W. Churchill, taking into account the historical context of events are presented in the article. The results of a comparative analysis of three unidentified political allusions noted in D. Holly’s book “Churchill’s Literary Allusions” are discussed. The author of the publication emphasizes that when using the allusion as a unit of renomination, the context affects the creation of the allusive meaning. The variants of allusive meanings of the same lines of J. Milton’s poem “Paradise Lost” in three different historical contexts and different literary genres: in historical narration, in a public speech of a British politician and in military memoirs are analyzed in the article. The novelty of the study is seen primarily in the fact that the studied poetic allusions were not previously identified in the texts of W. Churchill. The value of the research results lies in its interdisciplinary nature, carried out at the intersection of linguistics, semantics, history and hermeneutics.
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Holt, Jason. "Ex Ante Allusions." Aesthetic Investigations 1, no. 1 (July 16, 2015): 14–22. http://dx.doi.org/10.58519/aesthinv.v1i1.12002.

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We tend to think of allusions as indirect references to objects that already exist. Here I argue against this post facto orthodoxy and for the view that certain cases of allusion count as ex ante allusions (i.e. allusions before the fact). I argue that the standard view conflates the epistemic dependence of allusion (knowledge of the object of allusion) with an existential dependence (the object must already exist). As an adequate account of allusion should explain both the apparent paradoxical character and the possibility of ex ante allusions, I propose that literary allusions should be understood in terms of what might be called reference from rather than reference to.
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Ирина Саакян. "ПАРЕМИЧЕСКИЕ АЛЛЮЗИИ В МУЛЬТИКУЛЬТУРНОМ ХУДОЖЕСТВЕННОМ ДИСКУРСЕ САЛМАНА РУШДИ (НА МАТЕРИАЛЕ РОМАНА “THE GROUND BENEATH HER FEET”)." World Science 3, no. 3(43) (March 31, 2019): 21–24. http://dx.doi.org/10.31435/rsglobal_ws/31032019/6416.

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The article considers paremic allusions as units with rich cultural semantics, allowing to understand the information of cultural value provided in multicultural artistic discourse. It presents a detailed analysis of the examples of paremic allusions with the description of cases when allusion is combined with metaphor, simile, irony, sarcasm, epithet emphasizing expressive potential of allusive convergence.
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Valotka, Audrius. "What are you, allusion?" Lietuvių kalba, no. 11 (December 20, 2017): 1–16. http://dx.doi.org/10.15388/lk.2017.22554.

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The article deals with issues of allusion theory and provides “demarcation lines”, i.e. features that allow distinguishing allusion from other types of intertext. Allusion is commonly defined as an indirect, implied, or covert reference, but here it is defined as an element of text which has certain features. This is in line with conventional terminological practice which requires a proper definition to entail a hypernym superordinate by one or two levels. Allusion is intertext, therefore its definition must include the categories of “intertext” or “text”. The essential features of an allusion are the following: a) Allusion is made of two texts: the text in praesentia and the text in absentia. The text in absentia is widely perceived as a work of art, a historical fact, a person, etc. It is always prior, except for Jason Holt’s interpretation of ex ante allusions. b) The texts in absentia and in praesentia are bound by a covert, indirect reference the purpose of which is to link both texts and to establish allusive connection between them. The question whether meta-comments made by the author about the connection distort the allusion remains open. c) The connection between the text in praesentia and the text in absentia is enabled by the same or similar elements, i.e. representants. The elements of the text in praesentia which aggravate the recognition of the text in absentia are transformants. Context may also perform the function of transformants. d) When the text in absentia affects only part of the text in praesentia, such an allusion is referred to as a local allusion. If the internal links of the text in absentia affect the internal links of the text in praesentia, such an allusion is referred to as a structural allusion (extension, imitation, parody, plagiarism). e) From the structural perspective, parody, plagiarism, imitation, and extension are not independent intertexts since they differ from allusions only in their function (i.e. irony, secret copying and open mimicking, respectively), therefore they are considered variations of allusion. f) Allusion is an open, incomplete structure since its meanings are created not only by the author but also by the addressee. If the author and the addressee have common background knowledge, the addressee recognises the allusion and is able to interpret it in accordance with the author’s intention. If the background knowledge of the author and the addressee differ, the addressee does not notice the allusion or she/he interprets it in her/his own way.
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Holt, Jason. "Casting Allusions." Aesthetic Investigations 2, no. 2 (July 11, 2019): 215–26. http://dx.doi.org/10.58519/aesthinv.v2i2.11969.

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The modest philosophical literature on allusion focuses on descriptive issues concerning literary examples, and thus tends to neglect both allusions in other media and normative concerns about allusions in general. In this paper I will help fill both gaps through an analysis of three different cases of what I call casting allusions, which depend on the audience’s recognition that a certain cast member was also in the cast of a different work. These cases vary greatly in aesthetic merit, and this is best explained via two dimensions of allusive value: richness (given the medium) and dynamic engagement. All else being equal, an allusion will be more aesthetically pleasing when it relies on a wider variety of medium-relevant channels or prompts less passive, more evolving audience response. Such an account finds further support in elaborate cinematic examples, such as the tapestry of allusions to Bruce Lee in the Kill Bill films.
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Shiflett, Campbell. "“Au Fond d’un Placard”." Journal of Musicology 37, no. 2 (2020): 197–230. http://dx.doi.org/10.1525/jm.2020.37.2.197.

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An analysis of self-allusion in Francis Poulenc’s Ier Nocturne for piano (1929/30) not only reveals a complex network of interrelated programmatic and personal associations but also suggests how attention to allusion offers a means of experiencing the piece queerly. The nocturne’s allusions to earlier works by Poulenc point toward a set of shared topics, including childhood, the pastoral, the erotic, and the composer’s romantic relationship with painter Richard Chanlaire, while a chromatic sequence in the nocturne’s coda anticipates the associations of this progression with grace, anxiety, and the divided self in two later works. Alongside these allusive referents, the nocturne’s shifting levels of discourse, dramatic form, and ironic modality inspire a hearing of the piece as a coming-out narrative, whose constant deferral of meaning renders the nocturne different from itself. This interpretation aligns Poulenc’s nocturne with contemporary works by authors Jean Cocteau and Marcel Proust, whose writings similarly treat these (self-)referential deferrals as indicative of queer life and trope this difference to instantiate a queer hermeneutics. As a performance of difference and reference, Poulenc’s nocturne benefits from a mode of listening that reflects these deferrals, acknowledging allusion’s effects on listeners and queerly redefining the musical work in the process.
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Minas, Steven Aaron. "“The heat of Milton's mind”: Allusion as a Mode of Thinking in Paradise Lost." Milton Studies 61, no. 2 (September 2019): 186–211. http://dx.doi.org/10.5325/miltonstudies.61.2.0186.

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ABSTRACT One of the most contested and arguably misunderstood aspects of Milton's poetry is his use of allusion. The long critical tradition on Paradise Lost, in particular, has spent much of its labor not only identifying the poem's allusions and their significance, but also teasing out the terminological differences between allusion, echo, imitation, topoi, reference, and pun. But rich, insightful, and complex disagreements among readers of Milton's epic poem nevertheless remain. This article suggests that part of the difficulty of Milton's allusions lies in the fact that he did not use allusion in the way most poets do. Rather than deploying allusion as a “learned gesture” intended for readers to recognize, Milton used it as a thinking mechanism, a mode of apprehending and creating poetry.
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Galbraith, Deane. "Drawing Our Fish in the Sand: Secret Biblical Allusions in the Music of U2." Biblical Interpretation 19, no. 2 (2011): 181–222. http://dx.doi.org/10.1163/156851511x557352.

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AbstractConfronted with a popular music subculture which is predominantly antipathetic to Christianity, the charismatic-evangelical members of rock band U2 double code their lyrics in such a manner that Christian references are hidden from mainstream listeners and media while being readily recognizable to their Christian fans. The device of allusion is especially amenable to this end, as the meaning of an allusion can only be considered by a reader or listener who possesses the requisite competency in respect of the evoked text(s). Through their utilization of biblical allusions, U2 therefore construct two different, perhaps even irreconcilable, groups of listeners—a knowledgeable Christian in-group and an unknowledgeable non-Christian out-group. With detailed reference to U2's songs, this paper examines the covert tendencies of allusion and the manner by which it is able to engage the listener's intertextual imagination. The paper also distinguishes a secret or hidden allusion from a generic allusion on pragmatic and socio-cultural grounds, and demonstrates the potential of secret allusions to increase semantic indeterminacy. Lastly, the paper examines some examples of the reception of the U2 song 'Magnificent' which demonstrate the effectiveness of U2's secret biblical allusions in creating two largely discrete groups of listeners.
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Tryshchenko, Iryna. "ALLUSIONS IN LITERARY DISCOURSE (BASED ON THE NOVEL “THE WINTER OF OUR DISCONTENT” BY J. STEINBECK)." RESEARCH TRENDS IN MODERN LINGUISTICS AND LITERATURE 2 (November 7, 2019): 94–103. http://dx.doi.org/10.29038/2617-6696.2019.2.94.103.

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This paper is devoted to the study of allusion functions in literary discourse. Allusion is treated as a central manifestation of intertextuality. This term is used as a generic one for both references and quotations. They are defined as two forms of allusion marker. The analysis is conducted on the basis of J. Steinbeck's novel “The Winter of Our Discontent.” The brief review of J. Steinbeck's literary heritage is presented in the paper. The functioning of biblical, mythological and literary allusions is under study. Literary allusions in the novel are made both to works of classical authors (Shakespeare, Tennyson) and works of popular genres. They are used for characterization, to produce ironic and humorous effects, to create a certain atmosphere or setting, to structure the narrative, to introduce and develop the theme of the novel, to generalize the plot. In addition to allusions to certain works of different authors, allusions to certain genres are discussed, including cases of genre re-registration. The role of allusions as means of contributing to the polyphony of the novel and establishing writer-reader interaction of a certain type is also in the focus of the given paper.
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Dissertations / Theses on the topic "Allusion"

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Mead, Ruth Mary Judith. "Wordsworth's poetry of allusion." Thesis, University College London (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369103.

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Kelly, Gavin. "Ammianus Marcellinus : autopsy, allusion, exemplum." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395223.

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Riordan, Michael Patrick. "The elusive allusive : the use of allusion and quotation as acts of authorship in playwriting." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16222/1/Michael_Riordan_Thesis.pdf.

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This project examines the ways in which allusion and quotation may be used by playwrights in the composition of play scripts, principally through the writing of two full length stage plays, String and The Talent, accompanied by a supporting exegesis. This exegesis examines how quotation and allusion are used in these works to support particular meanings intended by the author. The project also looks at theories that consider the ways allusion functions, particularly focusing on the debate in the field between the advocates of the theories of influence and intertextuality. It does not attempt to provide an historical overview nor an exhaustive investigation of the development of the major theories and their advocates, but rather to consider more summarily - in outline rather than in detail - the manner in which these ideas have set out to explain how allusion functions in texts. This project suggests its own theory on the way (particularly literary) allusion works. Transtextuality, although itself only a partial and incomplete means of explaining the allusive transaction, refers to the movement of language between texts. Allusion offers a mechanism by which authors of a new text may underscore intended meaning by reference to established texts based on the assumption that the meaning of the quoted text is already understood (or can easily be accessed), and that therefore that meaning is transferable to the new text and can be absorbed into the different context into which it has been placed. The purpose of this study is in part to examine the way allusion works as a practice of intertextuality, transtextuality and the influence of one or more texts upon another. It concludes that allusion to and quotation from one text by another operate as acts of authorship, literary devices employed by the writer as mechanisms for the attempted communication of intended meaning. In doing so, it is hoped that the project may articulate ways in which allusion and quotation can be used by playwrights in the composition of their dramaturgy.
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Riordan, Michael Patrick. "The elusive allusive : the use of allusion and quotation as acts of authorship in playwriting." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16222/.

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This project examines the ways in which allusion and quotation may be used by playwrights in the composition of play scripts, principally through the writing of two full length stage plays, String and The Talent, accompanied by a supporting exegesis. This exegesis examines how quotation and allusion are used in these works to support particular meanings intended by the author. The project also looks at theories that consider the ways allusion functions, particularly focusing on the debate in the field between the advocates of the theories of influence and intertextuality. It does not attempt to provide an historical overview nor an exhaustive investigation of the development of the major theories and their advocates, but rather to consider more summarily - in outline rather than in detail - the manner in which these ideas have set out to explain how allusion functions in texts. This project suggests its own theory on the way (particularly literary) allusion works. Transtextuality, although itself only a partial and incomplete means of explaining the allusive transaction, refers to the movement of language between texts. Allusion offers a mechanism by which authors of a new text may underscore intended meaning by reference to established texts based on the assumption that the meaning of the quoted text is already understood (or can easily be accessed), and that therefore that meaning is transferable to the new text and can be absorbed into the different context into which it has been placed. The purpose of this study is in part to examine the way allusion works as a practice of intertextuality, transtextuality and the influence of one or more texts upon another. It concludes that allusion to and quotation from one text by another operate as acts of authorship, literary devices employed by the writer as mechanisms for the attempted communication of intended meaning. In doing so, it is hoped that the project may articulate ways in which allusion and quotation can be used by playwrights in the composition of their dramaturgy.
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Yu, Teresa Yee-Wah. "Li Shangyin : the poetry of allusion." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/31118.

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A major poet of the Tang period, Li Shangyin is highly regarded yet criticized because his work is densely allusive. Dazzling and rich in meaning, it is also difficult and obscure because of its pervasive allusiveness. Chapter I reviews critical opinion of Li's use of allusion. Many traditional critics see allusion as an ornamental rhetorical device and consider Li's profuse allusiveness an idiosyncrasy to be tolerated in an esteemed poet. Chapter II studies allusion broadly and precisely as a literary concept: generally, allusion is a "connector" of texts, a link between a poet's work and his literary heritage; specifically, it is a linguistic device serving metaphorical functions. Allusion viewed as extended metaphor generates multiple meanings. An approach to reading allusion is here developed, to interpret allusive texts on literal, allegorical, and symbolic levels. The chapter concludes that it is a misconception to say that the heavy use of allusion necessarily leads to inferior poetry. Chapter III relates Li's allusions to major motifs in his work, finding that his historical and mythological allusions fall into clusters and patterns. The profusion of mythological allusions yields symbolic meanings, both in individual poems and in the larger context of his collected works. Examining Li's characteristic use of allusion, the chapter shows how it functions as a major stylistic signature and is the principal reason for the plurisignation and ambiguity in his poetry. Chapter IV interprets several typical poems by Li Shangyin in the context of the theoretical and historical framework of the foregoing chapters. It highlights some of the major functions of allusion in these poems. A positive response to the plurisignation of Li's allusive mode allows for an inclusive critical approach to diverse interpretations and discards those readings failing the standards of consistency, coherence, and completeness . Chapter V concludes that Li's presumed vice is his virtue: his allusive texture makes his work difficult but gives it a rewarding richness. His unique use of allusion is organic. Far from being a mere ornamental device, allusion is the very poetry itself. He creates his own poetic mode, the Poetry of Allusion.
Arts, Faculty of
Asian Studies, Department of
Graduate
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Hylen, Susan. "Allusion and meaning in John 6." Berlin New York de Gruyter, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2672622&prov=M&dok_var=1&dok_ext=htm.

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Zeng, Li. "The art of allusion in Li Shangyin." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ28100.pdf.

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Grandage, Sarah. "Reading Shakespearean Allusion in Contemporary Newspaper Discourse." Thesis, University of Nottingham, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.523064.

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Solovei, Natalia. "L'allusion dans le texte journalistique : la création d'un monde de référence pour le savoir partagé entre l'auteur et le lecteur." Lille 3, 2007. http://www.theses.fr/2007LIL30043.

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Buglass, Abigail Kate. "Repetition and internal allusion in Lucretius' 'De Rerum Natura'." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:b20951f7-d299-4c5f-8470-5e67be1340ff.

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This thesis aims to solve the apparent problem of the frequent repetitions in Lucretius' De Rerum Natura (DRN). Verbal repetitions of many different lengths pervade DRN, and are noted in the scholarship. Yet a consensus has not been reached as to their purpose and function, or even if they rightly belong in the text. Multi-linear repetitions are viewed as a temporary stop-gap which Lucretius would have removed or adjusted had he lived long enough to effect it; or as later interpolations; while shorter repetitions are underplayed or even ignored altogether. But repetitions and internal allusions in DRN are part of a purposeful, meaningful didactic and rhetorical strategy, and they form much of the intellectual structure of the poem. These internal connections combine in DRN to form a remarkably complex intratextual network. The thesis argues that repetition is a crucial way in which Lucretius conveys his arguments and persuades the reader to pursue a rational life. Chapter 1 analyses the ways in which Lucretius' epic predecessors used repetition and how Lucretius may have applied these models. Chapter 2 looks at the internal evidence for the alleged unfinished state of the poem and examines the function of long repetitions in DRN. Chapter 3 investigates the rhetorical background to and functions of different kinds of repetition in DRN. Chapter 4 explores the didactic and psychological effects of repetitions and internal allusions. Chapter 5 shows how repetition creates an image of the world Lucretius describes: just as Lucretius tells us that atoms and compounds make up different substances depending on their arrangement in combination, so repetitions perform different functions and produce different outcomes depending on their placement in the text. Throughout the poem, repetition serves again and again to reinforce Lucretius' message, creating argumentative unity, and bringing order from chaos.
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Books on the topic "Allusion"

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Wordsworth's art of allusion. University Park: Pennsylvania State University Press, 1988.

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Pasco, Allan H. Allusion: A literary graft. Charlottesville, [Va.]: Rockwood Press, 2002.

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Jacques, Lajarrige, and Moncelet Christian, eds. L' allusion en poésie. Clermont-Ferrand: Presses universitaires Blaise Pascal, 2002.

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Pasco, Allan H. Allusion: A literary graft. Toronto: University of Toronto Press, 1994.

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1944-, Murphy James J., and Florida State University Museum of Fine Arts., eds. Illusion/allusion: Contemporary sculpture. [Tallahassee]: Florida State University Museum of Fine Arts, School of Visual Arts & Dance, 1995.

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Allusion to the poets. Oxford [England]: Oxford University Press, 2002.

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H, Ray Robert, ed. The Herbert allusion book: Allusions to George Herbert in the seventeenth century. Chapel Hill: University of North Carolina Press, 1986.

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Hopkins, Lisa. Shakespearean Allusion in Crime Fiction. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-53875-8.

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Groves, Beatrice. Literary Allusion in Harry Potter. Abingdon, Oxon : New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315269337.

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Killoran, Helen. Edith Wharton: Art and allusion. Tuscaloosa, Ala: University of Alabama Press, 1996.

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Book chapters on the topic "Allusion"

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Sutherland, John. "Allusion." In 50 Schlüsselideen Literatur, 100–103. Heidelberg: Spektrum Akademischer Verlag, 2012. http://dx.doi.org/10.1007/978-3-8274-2900-1_26.

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Mays, J. C. C. "Language and Allusion." In Coleridge's Dejection Ode, 95–120. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04131-1_5.

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Sutton-Spence, Rachel. "Metaphor and Allusion." In Analysing Sign Language Poetry, 116–27. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230513907_8.

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Kallendorf, Craig. "Allusion as Reception." In The Virgilian Tradition II, 7–20. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003149057-3.

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Erickson, Peter. "Introduction: Allusion as Revision." In Citing Shakespeare, 1–10. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1007/978-1-137-06009-9_1.

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McEvoy, Sean. "Allusion: The Ferryman (2017)." In Class, Culture and Tragedy in the Plays of Jez Butterworth, 175–211. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-62711-9_8.

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Furniss, Tom, and Michael Bath. "Allusion, Influence and Intertextuality." In Reading Poetry, 428–57. 3rd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003011361-17.

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Pinion, F. B. "Literary Allusion and Indebtedness." In Hardy the Writer, 264–81. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1057/9780230389458_17.

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"Allusion." In The Reshaping of Ancient Israelite History in Chronicles, 194–214. Penn State University Press, 2005. http://dx.doi.org/10.5325/j.ctv1bpw6gf.15.

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"Allusion." In The Craft of Poetry, 25. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1hztrbd.19.

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Conference papers on the topic "Allusion"

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Eoyang, Eugene. "DÉJÀ LU: RECURRENCE, ALLUSION, AND PLAGIARISM IN TRANSLATION." In Proceedings of the Nobel Symposium 110. WORLD SCIENTIFIC, 1999. http://dx.doi.org/10.1142/9789812815170_0025.

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Vlasiuk, Liudmyla, and Olena Miroshnychenko. "ALLUSION AND TERM CONFLUENCE AS AN OBJECT OF LINGUISTIC RESEARCH." In THEORETICAL AND EMPIRICAL SCIENTIFIC RESEARCH: CONCEPT AND TRENDS, chair Olga Demydenko. European Scientific Platform, 2020. http://dx.doi.org/10.36074/24.07.2020.v3.29.

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"Myth and Allusion in D. H. Lawrence’s “The Rocking-Horse Winner”." In Oct. 2-4, 2018 Budapest (Hungary). Universal Researchers, 2018. http://dx.doi.org/10.17758/uruae4.uh10184010.

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Jhon, Alex. "The paradigm of iconic video games characters in shifting cultural allusion." In ICIET '18: 2018 6th International Conference on Information and Education Technology. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3178158.3178162.

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Kochneva, IuliiaY. "Allusion As A Sign Of Intertextuality (Based On “Beauty And The Beast”)." In WUT 2018 - IX International Conference “Word, Utterance, Text: Cognitive, Pragmatic and Cultural Aspects”. Cognitive-Crcs, 2018. http://dx.doi.org/10.15405/epsbs.2018.04.02.69.

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Xu Qingshan, Bian Haihong, and Tang Guoqing. "Novel approach for single ended fault location in allusion to unbalanced transmission lines." In 7th IET International Conference on Advances in Power System Control, Operation and Management (APSCOM 2006). IEE, 2006. http://dx.doi.org/10.1049/cp:20061985.

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Shao Zhenguo, Huang Daoshan, Lin Han, and Kang Jian. "The online security forewarning of power system in allusion to specific natural disasters." In 2008 Third International Conference on Electric Utility Deregulation and Restructuring and Power Technologies. IEEE, 2008. http://dx.doi.org/10.1109/drpt.2008.4523402.

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Vlasiuk, Liudmyla. "THE STYLISTIC DEVICE OF ALLUSION FROM THE STANDPOINT OF INTERTEXTUALITY THEORY IN MEDIA DISCOURSE." In IMPATTO DELL'INNOVAZIONE SULLA SCIENZA: ASPETTI FONDAMENTALI E APPLICATI, chair Olga Demydenko. European Scientific Platform, 2020. http://dx.doi.org/10.36074/26.06.2020.v2.32.

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Zashchitina, Galina. "Mass Culture and Mass Addressee Through Stylistic Mirror of Allusion in Modern Mass Media." In Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.468.

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Swarna, Beesetti, Yong-Dong Wang, and Malia B. Potts. "Abstract PO-069: SRMS correlated with immune infiltration and lung cancer: Allusion for COVID-19." In AACR Virtual Meeting: COVID-19 and Cancer; July 20-22, 2020. American Association for Cancer Research, 2020. http://dx.doi.org/10.1158/1557-3265.covid-19-po-069.

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Reports on the topic "Allusion"

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Nicklin, Andrew R. Stuck in the Middle Without a Coherent Strategy: An Allusion to Future War. Fort Belvoir, VA: Defense Technical Information Center, May 2014. http://dx.doi.org/10.21236/ada611979.

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KNYAZEVA, V., A. BILYALOVA, and E. IBRAGIMOVA. INTERTEXT AS A LEXICAL AND SEMANTIC TOOL OF SUGGESTION. Science and Innovation Center Publishing House, 2022. http://dx.doi.org/10.12731/2077-1770-2022-14-2-3-39-49.

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Abstract:
An article describes intertextuality as a lexico-semantic tool of linguistic suggestion and examines its ability to constitute manipulative power of authority within political media discourse. Following a thorough study of linguopragmatics and suggestive linguistics from the perspective of their theoretical grounds, we aimed to classify lexico-semantic tools, which could enable an authority to become a manipulative power of political media texts. Intertextuality caught our attention as an element of the aforementioned classification. The phenomenon representing overlap and interaction of several texts is backed up by recent examples gathered from some Russian and foreign Internet periodicals. Being sub-types of intertextuality Allusion and Quotation were highlighted in the research.
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Black, Barbara. Visual notes, fragments and allusions: drawing and painting thesis. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2490.

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