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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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Haywood, Jan Liam Thomas. "Intertext and allusion in Herodotus' Histories : authority, proof, polemic." Thesis, University of Liverpool, 2013. http://livrepository.liverpool.ac.uk/12277/.
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This study considers anew the central question of Herodotus’ relationship with literary and textual sources. It examines how Herodotus comes to define his own work in a context where many artists (both narrative and visual) are seeking to accumulate, delineate, and ultimately dictate cultural memory. Rather than applying traditional Quellenforschung, my analysis centres on examining significant intertextual and allusive relationships in his work. In each chapter, I address the nature of Herodotus’ engagement with certain textual rivals/genres, namely early prose writers, inscriptions, poets (expecially Homer, Simonides, Aeschylus, Sophocles), and oracles. From this emerges a highly nuanced engagement with myriad texts in the Histories (principally: as authoritative voices; as persuasive evidence; and as voices for disputation). Such engagement furnishes considerable authority for the writer of the Histories, to the extent that he provides a superior view of the past, compared to the more limited, partisan perspectives offered by his textual rivals. My study reinforces the salient point that Herodotus is no historian in any modern sense of the word; his interaction with other literary traditions does not appear in a way that is expected of an academic monograph. Nevertheless the evidence for his engagement with a wide and diverse group of texts—both contemporary and non-contemporary—clearly militates against the consensual view that Herodotus was working with predominantly unfixed, oral traditions. Indeed, through this interplay with other literary works Herodotus most clearly defines for the reader his own unique intellectual achievement: the invention of historiography.
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Hanaghan, Michael Peter. "Intertextuality and allusion in the epistles of Sidonius Apollinaris." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12810.
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Bishop, diplomat, letter-writer, poet and saint, Sidonius Apollinaris was an incredibly influential author in fifth-century Gaul. In Sidonius’ epistles literary allusions are employed to great and varying effect. This thesis examines Sidonius’ use of literary allusions in selected epistles, chosen to show the variety of their use. The first chapter examines how Sidonius alludes to programmatic remarks by other authors to develop his own unique programmatic message. Chapter two argues that Sidonius’ allusions in Ep. 1.5 (which describes his journey from Gaul to Rome in 467CE) amount to a critique of the destabilization of the Roman Empire in the West. The third chapter argues. Sidonius’ response to the controversial Gallic presbyter and philosopher Claudianus Mamertus carefully avoids philosophical debate by praising him in deliberately superficial terms, using allusions to refute and distance himself from Claudianus’ polemical claims with minimal offense. Chapter four analyses Sidonius’ allusion to a plethora of other descriptions of buildings and art in Latin literature to create a complex ecphrasis of his villa which balances claims for humility with aristocratic display. The final chapter argues that Sidonius uses literary allusions in his last letters to ameliorate the reception of his early poetic career by linking his poetics to his prose corpus. These letters have been chosen to demonstrate the broad range of authors and texts which constitute Sidonius’ allusions; to show his use of allusions cover a range of literary strategies; and to demonstrate his literary reaction to changing events, spanning his epistolary career, from the first letter of book one circulated in the 460s, to the last letter of book nine, distributed in the last years of his life in the 480s. During this period Sidonius became a bishop, Clermont-Ferrand fell to the Visigoths, and the last Roman emperor in the West held office.
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Higgins, Peter. "The Wolfhound Century Trilogy : world building through genre and allusion." Thesis, University of Huddersfield, 2017. http://eprints.hud.ac.uk/id/eprint/34188/.
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A PhD In Creative Writing by Publication, comprising a trilogy of published novels – Wolfhound Century (2013), Truth and Fear (2014) and Radiant State (2015), described collectively as the Wolfhound Century trilogy – and an accompanying commentary. The published novels are historical fantasy thrillers, engaging with Russian (predominantly Soviet) history and culture of the period approximately 1900 to 1960. The novels do not portray Russia directly, but create a refracted, re-imagined world of Russian-ness, troped as 'the Vlast'. The commentary discusses the writing of the novels as practice-based research. It explores how the trilogy puts into practical fiction-writing use some concepts about literary tradition, genre and intertextual allusions which I first developed as an academic researcher in literary history. It describes the results of a writing process based on the use of wide-ranging and deliberate allusiveness and multiple, shifting genres and narrative voices, ranging from those of popular fiction to the highly literary and poetic: a practice which grew out of my prior study of literary modernism and classical and Renaissance epic. It explores how these formal strategies are used to extend and complement the novels' thematic concerns with the interaction between the totalizing, collectivizing state and the openness and plenitude of individual human consciousness. The commentary also discusses my novels as a contribution to knowledge, specifically to certain genres of fantasy writing and to the interface between fiction seen as popular or mass market and fiction seen as literary. It examines the relationship of the Wolfhound Century trilogy to fantasy thriller, alternate history, historical fantasy, steampunk, and cultural/historical mashup and pastiche. It describes how my novels adopt aspects of those genres but also reshape and extend them by integrating heightened and more 'literary' modes of writing and an extensive and programmatic allusiveness to literary and cultural texts and ideas which lie outside the conventional boundaries of current fantasy and science fiction writing. It concludes that while the Wolfhound Century trilogy is related to and engages with a number of different genres, its foundational and driving creative purpose is ultimately that of high (or epic, or heroic) fantasy.
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Ngo, Lập Tu McLaughlin Robert L. "Literature as allusion processing and teaching Vietnam-American war literature." Normal, Ill. : Illinois State University, 2006. http://proquest.umi.com/pqdweb?index=0&did=1225141141&SrchMode=1&sid=6&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1177941823&clientId=43838.
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Thesis (Ph. D.)--Illinois State University, 2006.Title from title page screen, viewed on April 30, 2007. Dissertation Committee: Robert L. McLaughlin (chair), Ronald Strickland, Aaron Smith. Includes bibliographical references (leaves 196-207) and abstract. Also available in print.
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Petrides, Antonios Kyprou. "Faces of allusion : intertextuality and the mask of new comedy." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615067.
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Cattle, Simon Matthew James. "Myth, allusion, gender, in the early poetry of T.S. Eliot." Thesis, University of Edinburgh, 2000. http://hdl.handle.net/1842/8986.
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T.S. Eliot's use of allusion is crucial to the structure and themes of his early poetry. It may be viewed as a compulsion, evident in even the earliest poems, rather than just affectation or elitism. His allusions often involve the reversal or re-ordering of constructions of gender in other literature, especially in other literary treatments of myth. Eliot's "classical" anti-Romanticism may be understood according to this dual concern with myth and gender, in that his poetry simultaneously derives from and attacks a perceived "feminised" Romantic tradition, one which focuses on female characters and which fetishises, particularly, a sympathetic portrayal of femmes fatales of classical myth, such as Circe, Lamia and Venus. Eliot is thus subverting, or "correcting", what are themselves often subversive genderings of myth. Another aspect of myth, that of the quest, is set in opposition to the predatory female by Eliot. A number of early poems place flâneur figures in the role of questers in a context of constraining feminine influence. These questers attempt, via mysticism, to escape from or blur gender and sexuality, or may be ensnared by such things in fertility rituals. A sadomasochistic motivation towards martyrdom is present in poems between 1911 and 1920. With its dual characteristics of disguise and exposure, Eliotic allusion to ritual and myth is itself a ritual (of literary re-enactment) based on a myth (of literature), namely Eliot's "Tradition". Allusive reconfiguration being a two-way process, Eliot's poetry is often implicitly subverted or "corrected" by its own allusions. Thus we are offered more complex representations of gender than may first appear; female characters may be viewed as sympathetic as well as predatory, male ones as being constructed often from representations of femininity rather than masculinity. The poems themselves demonstrate intense awareness of this fluctuation of gender, which appears in earlier poems as a threat, but in The Waste Land as the potential for a rapprochement between genders. This poem comprises multiple layers of re-enactments and reconfigurations of gender-in-myth, centring upon Shakespeare's Venus and Adonis. The Waste Land's treatment of myth should not be seen as merely reflecting a passing interest in anthropology, but as the culmination of concerns with myth and gender dating back to the earliest poetry. The complex interrelation of the two aspects leaves it unclear whether Eliot's allusive compulsion derives principally from a concern with mythologies of literature or from a concern with mythologies of gender.
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Lethbridge, Stefanie. "James Thomson's defence of poetry intertextual allusion in The Seasons /." Tübingen : Max Niemeyer, 2003. http://catalogue.bnf.fr/ark:/12148/cb39081893j.
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Thomas, Jayne. "From allusion to intertext : reading Wordsworth in Tennyson, Browning and Hopkins." Thesis, Cardiff University, 2014. http://orca.cf.ac.uk/69317/.
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Critics have long acknowledged the allusive effect of William Wordsworth’s language in the poetry of Alfred, Lord Tennyson, Robert Browning and Gerard Manley Hopkins. This thesis abjures allusive influence to focus on the intertextual presence of Wordsworth in poems by each of these authors. Its methodology hinges on a separation between an intentional authorial allusivity and an involuntary, or unbidden, intertextuality. As a result of this heuristic, the poets are seen to be caught within a Wordsworthian web, which complicates the way in which their poetry functions. The authorial entrapment that results is anxiety-generating, but the thesis does not place this anxiety within a Bloomian paradigm. Its concentration on male, canonical authors is Bloomian, however, as is its acceptance that the meaning of the texts by Tennyson, Browning and Hopkins discussed is a Wordsworthian poem. Chapter One investigates the intertextual strategies of Tennyson’s ‘Ulysses’ (1842), which work to expose the loss attendant upon the Wordsworthian transcendent moment. The poem’s recasting of Arthur Henry Hallam’s own unconscious Wordsworthian allegiance in ‘Timbuctoo’ (1829) leads into the analysis, in Chapter Two, of Tennyson’s In Memoriam (1850) and its implicit reliance on the language of Wordsworthian transcendence as a means by which both to assuage the poet’s grief at the death of Hallam and his dissatisfaction with contemporary scientific and theological discourse. Chapter Three develops the previous chapters’ findings by tracing how Tennyson’s ‘Tithonus’ (1860) rewrites Wordsworth’s ‘Tintern Abbey’ (1798). Chapter Four examines Wordsworth’s presence in two Browning monologues, ‘Saul’ (1855) and ‘A Death in the Desert’ (1864), demonstrating how the poems find a new use for the language of lyrical interiority. Chapter Five considers Hopkins’ unconscious inscription of Wordsworth’s poetry and the threat it poses to his Incarnationalism and linguistic practice alike. The thesis finds its conclusion in the literary-historical effects that the after-presence of Wordsworth’s language engenders, which become an embodiment of legacy. The depth of each poet’s literary dependency on Wordsworth is also brought into focus, allowing the thesis to claim the earlier poet as a primary influence upon the trinity of later figures it addresses.
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Maxwell, Julie. "The part of allusion : religious controversy on the English Renaissance stage." Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.403417.
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Jolivet, Jean-Christophe. "Allusion et fiction épistolaire dans les "Héroïdes" : recherches sur l'intertextualité ovidienne /." Rome : Paris : École française de Rome ; diff. De Boccard, 2001. http://catalogue.bnf.fr/ark:/12148/cb38807426b.
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Morra, Linda. "Charlotte Bronte's books of revelation: Apocalyptic and prophetic allusion in the novel." Thesis, University of Ottawa (Canada), 1995. http://hdl.handle.net/10393/10446.
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The Bible proved to be a rich resource for Charlotte Bronte; with the exception of The Professor, Bronte's novels are saturated with references to prophecy and apocalypse. These allusions are crucial underpinnings in her novels, for they give shape to character, theme, and plot, even as the significance of these allusions alters with Bronte's own darkening vision. The introductory chapter analyses the religious and cultural milieu out of which Bronte's novels flourished. The second chapter examines how the prophet is closely aligned to the "poet"--and consequently, both the novelist and the narrator of Jane Eyre. The third chapter examines how prophecy affects the narrative structure in Shirley. The final chapter of the thesis examines revelation in Villette and how it may reveal and conceal: this ambiguity suggests a shift in the prophet's role from divine oracle of God's word to the overwrought imagination susceptible to interpretive subjectivity.
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Williams, Christopher. "Readings in Eliot : allusion as technique in the poetry of George Seferis." Thesis, King's College London (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362880.
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Cherney, Kenneth A. "Allusion as translation problem : Portuguese versions of second Isaiah as test case." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95847.
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Thesis (PhD)--Stellenbosch University, 2014.ENGLISH ABSTRACT: An allusion in the source text poses a serious problem for a translator. A relevance-theoretic approach would define an “allusion” as the re-use of language from a prior text such that, by calling the prior text to mind, an implied reader is aided in his/her attempt to plausibly reconstruct the alluding author’s meaning. For this to happen, the reader’s “context” in the relevance-theoretic sense must include the source of the borrowed language. To explicate the connection for the reader, however, can thwart the pragmatic effects of an allusion, since these often require maintaining some “openness” in the text; hence the translator’s dilemma. Isaiah 40-55 (Deutero-Isaiah or DtI), a richly allusive text, furnishes an ideal test case for a descriptive translation study (DTS) focused on this source-text feature. This investigation of eleven Portuguese versions will attempt to determine whether and how the translators’ decisions with regard to DtI’s allusions might be accounted for. Source-oriented approaches to translating often tend toward lexical concordance; therefore, these approaches—in theory—should tend to preserve instances of vocabulary that is shared between an alluding- and an alluded-to text. Target-oriented approaches (e.g. “functional equivalence”) are more interested in contextual clarity than lexical concordance; these could then be expected to produce target texts that are less allusive. Increased sophistication in translation theory should result in more sophisticated approaches to allusion in translating. Collaborative and coordinated translation projects should produce more allusive target texts than those whose procedures are more piecemeal. The investigation reveals less correlation than expected between general source-orientedness and allusiveness in the target text. Target-oriented approaches—e.g., classical functional equivalence—do tend to produce less allusive target texts. In addition, there is a correlation between a translation project’s organization and the perspicuity of allusion in the target text, but it is mostly negative. That is, projects that do their work piecemeal produce unallusive versions, but more collaborative and coordinated projects still leave many inter-textual resonances inaudible. It appears that translations will preserve this source-text feature in a way that tends toward randomness unless the perspicuity of inter-textual allusions is articulated as a conscious value in translating. Above all, “allusion-friendly” translating will require target cultures that want more allusive Bibles. Translators, as “model readers” themselves, will need to recognize the presence and function of allusions in the source text and make the attempt to represent these in translation a priority.
AFRIKAANSE OPSOMMING: Sinspeling in ’n bronteks kan aansienlike probleem skep vir vertaler. Relevansie-teoretiese benadering definieer “sinspeling” as die hergebruik van taal uit vroeëre teks tot so mate dat veronderstelde leser, deur die vroeëre teks voor die gees te roep, in sy/haar poging om die sinspelende outeur se bedoeling te rekonstrueer, gesteun word. Om dit te bewerkstellig, moet die leser se “konteks,” in die relevansie-teoretiese sin van die woord, die bron van die ontleende taaluiting insluit. Om die verband aan die leser te verklaar kan egter die pragmatiese effekte van sinspeling teenwerk, aangesien sinspeling as sulks dikwels die handhawing van mate van “openheid” in die teks vereis; vandaar die vertaler se dilemma. Jesaja 40-55 (Deutero-Jesaja of DtJ), teks met baie gevalle van sinspeling, bied die ideale geleentheid vir beskrywende vertalingstudie (BVS) wat op hierdie brontekskenmerk fokus. Hierdie ondersoek van elf Portugese vertalings sal poog om te bepaal of en hoe die vertalers se vertaalkeuses met betrekking tot DtJ se sinspelings verklaar kan word. Bron-georiënteerde benaderings tot vertaling neig dikwels tot leksikale konkordansie; daarom behoort hierdie benaderings – in teorie – te neig om die gevalle van woordeskat wat tussen sinspelende en opgesinspeelde teks gedeel word, weer te gee. Teiken-georiënteerde benaderings (bv. “funksioneel-ekwivalente benaderings”) stel meer in die verstaanbaarheid van uitdrukkings in die konteks waarin dit gebruik word as in leksikale konkordansie belang; van hierdie vertalings sou dan verwag kon word om teikentekste op te lewer wat minder sinspelend is. Toenemende sofistikasie in vertalingsteorie behoort tot meer gesofistikeerde benaderings tot sinspeling in vertaling te lei. Gesamentlike en gekoördineerde vertalingsprojekte behoort meer sinspelende teikentekste voort te bring as die waarvan dit nie die geval is nie. Die ondersoek openbaar minder korrelasie as wat verwag is tussen algemene brongeoriënteerdheid en sinspeling in die teikenteks. Teiken-georiënteerde benaderings neig wel om minder sinspelende teikentekste te produseer. Daar is boonop korrelasie tussen vertalingsprojek se organisasie en die duidelikheid van sinspeling in die teikenteks, maar die korrelasie is meestal negatief. Dit wil sê, projekte wat hul werk stuksgewys doen, produseer niesinspelende weergawes, maar meer gesamentlike en gekoördineerde projekte laat steeds baie intertekstuele resonansies nie tot hulle reg kom nie. Dit blyk dat hierdie brontekskenmerk slegs op ‘n lukrake wyse in ’n vertaling tot sy reg sal laat kom, tensy die duidelikheid van intertekstuele sinspelings as bewuste waarde in die vertaling uitgespel word. Bowendien, “sinspelingsvriendelike” vertaling sal teikenkulture vereis wat meer sinspelende Bybels wil hê. Vertalers, as “modellesers” hulself, sal die teenwoordigheid en funksie van sinspelings in die bronteks moet herken en die poging om hierdie in vertaling te verteenwoordig prioriteit maak.
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Rees, Kathryn. "Reading Gosse's reading : a study of allusion in the work of Edmund Gosse." Thesis, Anglia Ruskin University, 2014. http://arro.anglia.ac.uk/552643/.
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Gosse’s reputation, both during his lifetime and thereafter, was compromised by his propensity for error, a trait that Henry James famously described as ‘a genius for inaccuracy’. Though much of his biographical and critical writing justifies this criticism, my study of Gosse’s use of the device of allusion, mainly in his fictional writing, reveals a strategy of misprision that is creative and innovative. Since the concepts of Modernism and Postmodernism have changed the way in which texts are read, it is now time to re-read Gosse, and to explore the potential meaning of passages that would hitherto have been dismissed as error or exaggeration. Using Ziva Ben-Porat’s characterisation of allusion ‘as a device for the simultaneous activation of two texts’ as my methodology, I explore the complex and often subversive resonances of Gosse’s allusive practice. Allusion requires four participants: author, reader, the source text by the precursor, and the alluding text. Because a phrase does not ‘become’ an allusion until all four parties have been ‘activated’, many of Gosse’s allusions have for a long time lain dormant in the palimpsest of his writings. I argue that Gosse’s evangelical, tract-writing mother, rather than his father, exerted primary influence on him. I foreground the impact of her prohibition of fiction as the genesis for Gosse’s idiosyncratic vision, showing that its legacy was more bewildering, and ironically more creative, than has hitherto been recognised. Using the revisionary ratios of Bloom’s theory of the anxiety of influence, I establish a trajectory of charged interactions between the texts of Gosse as ephebe and those of his mother as precursor. Many hitherto puzzling and unresolved aspects of Gosse’s writing now make sense in the context of his ‘answering back’ the spectral Bowes. Although Gosse never fully extricates himself from his maternal precursor, he metaphorically orphans himself, and transfers his ephebe allegiance to a host of literary fosterfathers, constantly invoking them in his texts. He thus secures his ‘mental space’ through the covert mode of allusion, and the zenith of this practice is manifested in Father and Son. My thesis demonstrates the potential of allusion as a methodological tool in literary analysis. By his acts of re-reading, Gosse achieves the paradoxical act of simultaneously arresting and promoting a sense of cultural continuity. On the one hand, Gosse arrests tradition by fragmenting texts: by importing a phrase or a passage from a past work into his present text, he engenders textual instability in both. On the other hand, Gosse promotes cultural continuity by importing into his work fragments that serve as allusive bridges forging connections through space and time. I hope that this exploration of his practice will initiate a reassessment of Gosse’s role in relation to the allusive mode as employed by the early Modernists.
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Fauser, Annegret. "Musik als ’Lesehilfe’. Zur Rolle der Allusion in den Opern von Jules Massenet." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37144.
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Rees, Kathryn. "Reading Gosse's reading: A study of allusion in the work of Edmund Gosse." Thesis, Anglia Ruskin University, 2014. https://arro.anglia.ac.uk/id/eprint/552643/1/Thesis%20Kathy%20Rees.pdf.
Full textAbstract:
Gosse’s reputation, both during his lifetime and thereafter, was compromised by his propensity for error, a trait that Henry James famously described as ‘a genius for inaccuracy’. Though much of his biographical and critical writing justifies this criticism, my study of Gosse’s use of the device of allusion, mainly in his fictional writing, reveals a strategy of misprision that is creative and innovative. Since the concepts of Modernism and Postmodernism have changed the way in which texts are read, it is now time to re-read Gosse, and to explore the potential meaning of passages that would hitherto have been dismissed as error or exaggeration.
Using Ziva Ben-Porat’s characterisation of allusion ‘as a device for the simultaneous activation of two texts’ as my methodology, I explore the complex and often subversive resonances of Gosse’s allusive practice. Allusion requires four participants: author, reader, the source text by the precursor, and the alluding text. Because a phrase does not ‘become’ an allusion until all four parties have been ‘activated’, many of Gosse’s allusions have for a long time lain dormant in the palimpsest of his writings.
I argue that Gosse’s evangelical, tract-writing mother, rather than his father, exerted primary influence on him. I foreground the impact of her prohibition of fiction as the genesis for Gosse’s
idiosyncratic vision, showing that its legacy was more bewildering, and ironically more creative, than has hitherto been recognised. Using the revisionary ratios of Bloom’s theory of the
anxiety of influence, I establish a trajectory of charged interactions between the texts of Gosse as ephebe and those of his mother as precursor. Many hitherto puzzling and unresolved
aspects of Gosse’s writing now make sense in the context of his ‘answering back’ the spectral Bowes. Although Gosse never fully extricates himself from his maternal precursor, he
metaphorically orphans himself, and transfers his ephebe allegiance to a host of literary fosterfathers, constantly invoking them in his texts. He thus secures his ‘mental space’ through the covert mode of allusion, and the zenith of this practice is manifested in Father and Son.
My thesis demonstrates the potential of allusion as a methodological tool in literary analysis. By his acts of re-reading, Gosse achieves the paradoxical act of simultaneously arresting and promoting a sense of cultural continuity. On the one hand, Gosse arrests tradition by
fragmenting texts: by importing a phrase or a passage from a past work into his present text, he engenders textual instability in both. On the other hand, Gosse promotes cultural continuity by importing into his work fragments that serve as allusive bridges forging connections through space and time. I hope that this exploration of his practice will initiate a reassessment of
Gosse’s role in relation to the allusive mode as employed by the early Modernists.
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Gerner, Desiree E. 1978. "A Matter of Life and Death: Gladiatorial Games, Sacrificial Ritual and Literary Allusion." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10637.
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vii, 65 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.Roman gladiatorial games had significance far beyond that of mere spectacle and were more than savage and brutal entertainment for depraved emperors and bloodthirsty crowds. Classifying the games as a form of ritual, and by extension a means of communication, this study approaches Roman gladiatorial games as a type of text and employs literary theories regarding allusion to bring to light the more profound implications of the games. I focus on the ways in which gladiatorial games alluded to funerary and sacrificial ritual as well as to the idealized representations of masculine virtue in Roman literature and the native myths and legends that Romans used to define themselves. The gladiator was both the community's ideal agent and its sacrificial offering, and gladiatorial combat was the embodiment of Roman social values, religious practice, and national identity.
Committee in Charge: Dr. Mary Jaeger, Chair; Dr. Lowell Bowditch; Dr. Cristina Calhoon
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Graham, Brett Martin. "Echoes of Scripture and the Jewish Pseudepigrapha in the Pastoral Epistles: Including a Method of Identifying High-interest Parallels." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18740.
Full textAbstract:
Within Biblical studies, the term ‘echoes of Scripture’ is often used to describe a detailed study of verbal parallels (or potential references) between the New Testament and the Jewish Scriptures (i.e. Christian Old Testament). This present study expands upon this tradition by seeking to identify verbal parallels between the Pastoral Epistles and two different sets of source texts: the Septuagint and the Greek manuscripts of the Jewish Pseudepigrapha. The parallels are detected using a method that is analogous to the syntax analysis phase of a compiler or a natural language processor. As such, the study defines a set of syntax rules for textual references in Ancient Greek literature and then scans these rules to find instances when they are true (or satisfied). Based on the literary theory of allusions, the method relies upon the rarity of the matching words in order to highlight the most likely parallels for further evaluation as potential references. During this search process, the method also generates metadata that can be used to evaluate the relative influence of each set of source texts.
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Gibson, Jonathan Murray. "Covenant continuity and fidelity : a study of inner-biblical allusion and exegesis in Malachi." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648825.
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Pehrson, Benjamin J. "Noachic allusion and echo in James 3:1-12 implicatures of new creation eschatology /." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.
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Ferrandino, Matthew. "What to Listen for in Zappa: Philosophy, Allusion, and Structure in Frank Zappa's Music." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19249.
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In this thesis I explore how music-text relations in Frank Zappa’s music work together to express a central narrative, with a particular focus on his use of musical allusion. First, I frame Zappa’s creative perspective from a Dadaist philosophy, illuminating an underlying critique of American culture through the use of musical and lyrical devices such as allusion. I explore how Zappa uses allusion as a narrative device and how these allusions affect a listener’s interpretation of a track. Finally, I provide an in-depth analysis of “Billy the Mountain” from the 1972 album Just Another Band From L.A. I first present an overview and analysis of the narrative as it is presented in the lyrics and then explore how musical parameters contribute to the narrative of the track. By understanding the interaction of music and text, I create a platform from which Zappa’s music can be better understood.
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Hunt, Sylvia. "Educating the domestic reader, literary allusion as educative device in Maria Edgeworth's novels of manners." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ56407.pdf.
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Yeweitao, Wu. "When Mistakes are Made in Music Playing, Someone Glanced"| The Evolution of Allusion Zhoulang Gu." Thesis, The George Washington University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10930055.
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“When Mistakes are Made in Music Playing, Someone Glanced”: The Evolution of Allusion Zhoulang Gu analyzes the origin of the historical allusion Zhoulang Gu, how it was firstly used in classical Chinese literature and how it developed into a literary imagery. The whole process started in Northern and Southern Dynasties (420-589) (which is about three hundred years away from the actual Zhoulang Gu story happened) and stabilized after Song Dynasty (960-1279). This thesis will list and examine some selected literary works with the use of allusion Zhoulang Gu from this period.
Zhoulang Gu “special characters omitted” (“the Young Zhou glances”), literally means the young Zhou glances. Zhoulang is a laudatory title of the famous general Zhou Yu (175-210) at the end of Eastern Han Period (45-220). The story Zhoulang Gu was recorded in Records of the Three Kingdoms, the biography of Zhou Yu. It says that Zhou Yu is good at music, even if it is after drinking in a banquet, he can still recognize the mistakes made in music playing and will glance at the music player. So people at that time make this story a folk song and it says “(When) the music playing appear mistakes, Zhoulang will glance.”
From close text reading, it shows that Zhoulang Gu’s development is closely related to qun “special character omitted” (“gathering”) among literati. Qun is a phrased that Confucius brings up to describe the function of Shijing “special characters omitted” [Book of Songs]. And this thesis will analyze how gathering affected Zhoulang Gu’s evolution and how Zhoulang Gu helps literati’s social intercourse.
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Abbott, William Thomas. "White knowledge and the cauldron of story the use of allusion in Terry Pratchett's Discworld /." [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0107102-172608/unrestricted/abbottw011702b.pdf.
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Abbott, William Thomas. "White Knowledge and the Cauldron of Story: The Use of Allusion in Terry Pratchett's Discworld." Digital Commons @ East Tennessee State University, 2002. https://dc.etsu.edu/etd/630.
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In the last twenty years, Terry Pratchett's Discworld series has become very popular. Pratchett's success hinges in part on his use of allusion, in what Tolkien called the "Cauldron of Story," and what Pratchett refers to as "white knowledge." This paper explores the Discworld novels and illustrates Pratchett's use and success of storytelling through a few key directions: folk tales, fantasy literature, movies, and rock music.
Pratchett has received limited critical review, mostly of a negative nature, while producing a strong literary series, one crafted with both obvious and subtle recognition of his genre's sources. While standing on the shoulders of giants, Pratchett both respects and scrutinizes the myths and stories that construct our reality. Critically, Pratchett's fiction deserves more respect and closer study; this paper attempts to give him his due.
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Waseen, Symeon L. "Concerto for Piano and Orchestra: Homage to W. A Mozart." Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1124224335.
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Jolivet, Jean-Christophe. "Allusion et fiction épistolaire dans les Héroi͏̈des : recherches sur les sources et la technique littéraire d'Ovide." Paris 4, 1994. http://www.theses.fr/1993PA040340.
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L'objet de cette these est d'etudier certains aspects de l'allusion dans les heroides, particulierement les lettres 5, 13 et 9. Sont examines 1) la perspective d'imitatio, et de parodie vis-a-vis des elegiaques 2) l'analyse mythographique procedent par isolation et ransposition de schemas mythiques, moyen de caracteriser les personnages et leur fonction 3) le jeu erudit sur les quaestiones homericae (par ex. L'identite du meurtrier de protesilas, le rapt d'helene par thesee, le voyage de retour de paris entre sparte et la troade. 4) les allusions a une source principale grace auxquelles le poete insere avec precision la redaction des lettres dans une trame narrative preexistante de facon a fournir des effets puissants d'ironie dramatique. Cette poetique allusive et erudite suppose une grande complicite avec un public dote d'une forte culture litteraire. La question de la fiction epistolaire est notamment anaysee a travers une etude de la lettre 9, le moment suppose de sa redaction dans le cours des trachiniennes et les consequences qui en decoulent dans le devoilement du caractere de dejanire, le fait que la lettre, redigee juste avant la grande aretalogie d'heracles chez sophocle, se caracterise comme anti-aretalogie, le fait qu'elle soit adresse in fine a hyllos qui la trouvera et la lira pres du corps de sa mere. A travers cette etude, il s'avere que la question de la reception fictive des lettres et celle de leur lecture par les destinataires est une ciefs du mode epistolaire dans les heroides. Par ailleurs, les lettres deviennent de pseudo-testimonia que le poete peut invoquer pour completer et corriger la tradition, dans le cadre d'un jeu litteraire de l'adoxographie et de l'aemulatio. Enfin, une etude des lettres 5, 16 et 17 permet de mettre a jour une structure d'un genre nouveau ou les lettres deviennent le support exclusif pour la narration d'un episode du mythe de paris. Cette continuite narrative prefigure la structure du roman epistolaire a l'age classiqueThe purpose of this work is to provide a study on some aspects of ovid's intertextual poetic in the heroides, particularly letters 5, 13 and 9. The chief points are : 1) the role of imiitatio, aemulatio and parody in respect to propertius. 2) the play with mythical patterns in order to characterize each heroine 3) the play with mythography and homeric scholarship (e. G. Such problems as theseus'rape of helen, the identity of protesilaus'murderer, paris' journey from sparta to troy) 4) the insertion of the letters within a mythical framework in order to provide dramatic irony. This kind of poetic requires great literary competence from the public. A new theory is offered about epistolary fiction in heroide 9 which is supposed to be written during sophocles' trachiniae. It sets out the following points : the supposed time of the writing, the mock-heroic catalogue of heracles' feats in connection with the sophocilean sublime aretalogy, the two addressees, heracles and hyllos, which is supposed to read the letter after d's death. The question of the addressee seems to be the key of the epistolary fiction in the first heroides. The epistolary fiction is also used as adoxography : the letters are concelived as pseudo-testimonia in order to play with mythical and literary tradition. At last, a new interpreation of letters 5, 16 and 17 atempts to emphazize the narrative continuum provided by those three heroides. Lt prefigures the narrative structure of epistolary novels
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Calderòn, Tatiana Tamara. "Le principe de l'iceberg : écriture et allusion (Francisco Coloane, Ernest Hemingway, Jean-Marie Gustave Le Clézio)." Paris 13, 2007. http://www.theses.fr/2007PA131021.
Full textAbstract:
Emprunt partiel et indirect, figure de l’implicite, l’allusion témoigne d’un texte en coprésence et instaure un jeu énigmatique avec le lecteur. Montagne de glace errante, matière compacte et image-concept, l’iceberg peut être envisagé comme un véritable principe d’écriture théorisé par Ernest Hemingway (1899-1961) (the iceberg theory), progressivement mis en œuvre par Jean-Marie Gustave Le Clézio (1940) et employé par Francisco Coloane (1910-2002). L’écriture régie par le principe de l’iceberg est marquée par la présence d’allusions potentielles que le lecteur doit détecter pour dénouer la tension du récit. L’allusion est un procédé de compensation qui permet de conjuguer une écriture plurivoque et ouverte aux lectures de l’interprétant, et un idéal d’écriture tendant vers la plus grande simplicité. Elle répond également à la volonté de réunir une écriture incantatoire qui se veut atemporelle, et un texte source dont l’écriture est historiquement datée. Notre démarche intègre deux approches parallèles : l’analyse de l’œuvre des trois auteurs pour mettre en lumière certaines fonctions de l’allusion dans la littérature, d’une part ; d’autre part, le dévoilement, par le biais de l’analyse des allusions, du message poétique des textes étudiés. Dans un premier temps, nous abordons l’allusion dans son environnement théorique contemporain et nous établissons une typologie de ses modalités d’apparition et de ses fonctions dans le corpus. Puis, nous nous intéressons à la fonction poétique des allusionsAllusion is an indirect and partial borrowing, an implicit figure which plays an enigmatic game with the reader. Wandering ice mountain, compact mass, and image-concept, the iceberg may be considered as a genuine writing principle theorized by Ernest Hemingway (1899-1961) (the iceberg theory), gradually carried out by Jean-Marie Gustave Le Clézio (1940) and used by Francisco Coloane (1910-2002). This writing principle contains potentials allusions that the reader must detect in order to unravel the narration strain. Allusion is a compensation device combining a polysemic writing open to multiples readings, and an extremely sober writing. Allusion allows as well the binding of an incantatory and timeless writing to a source text historically determined. Our method mingle two parallels approaches : analysis of the three authors’ work so as to underline some allusion’s functions in literature, and the unveiling of the poetic message through the allusion analysis. First, we delineate the theoritical background of allusion and we elaborate a typology of its appearance modalities. Then, we concentrate on the poetic function of the allusions in the corpus
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Mix, Walt Mahealani. "An interpretive paradigm for Luke's narrative parables with special reference to allusion and the good Samaritan /." Theological Research Exchange Network (TREN), 1993. http://www.tren.com.
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Cartellier-Veuillen, Éléonore. "Through the Looking-glass World of Harry Potter : Literature, Language and History." Thesis, Université Grenoble Alpes (ComUE), 2018. http://www.theses.fr/2018GREAL019/document.
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« À travers le monde-miroir de Harry Potter : littérature, langage et histoire » (« Through the Looking-glass World of Harry Potter : Literature, Language and History ») est une thèse qui propose d’analyser Harry Potter non pas comme un ouvrage à succès mais en tant que littérature à part entière. Les films, la marchandisation, le parc à thème et autres annexes aux œuvres sont donc mis de côté pour se concentrer sur le texte qui recèle un nombre important de joyaux littéraires. Notre but sera de démontrer que Harry Potter fait partie du canon littéraire et qu’il permet au lecteur de re-découvrir son propre monde.Quatre grands thèmes dans l’œuvre de J. K. Rowling sont mis en avant – le lien avec la littérature de jeunesse, l’intertextualité, le langage et l’Histoire – pour mieux étudier la qualité littéraire de Harry Potter. Notre problématique se centre sur la question de passage entre notre monde et le monde magique à travers la notion de langage. En effet le langage permet de créer un pont entre notre culture, notre littérature, nos mythes et notre histoire et le monde enchanté du livre. Cette transposition permet au lecteur de redécouvrir son propre monde à travers un habile jeu de miroirs dans le texte. En poursuivant sa lecture le lecteur est capable de passer à travers le miroir et de découvrir un univers à la fois merveilleux et terrible qui reflète et déforme le nôtre.Cette thèse se propose d'analyser la littérarité du texte tout en pointant les liens avec notre propre culture, que ce soit avec la réécriture des classiques anglophones pour adultes et enfants dans Harry Potter, ou la réécriture de notre Histoire. Ce travail a pour but de démontrer que Harry Potter est digne du canon de la littérature et qu'un examen poussé de l’œuvre permet d’apprécier et de découvrir cette saga à un niveau universitaire“ travers le monde-miroir de Harry Potter : littérature, langage et histoire » (« Through the Looking-glass World of Harry Potter : Literature, Language and History” is a thesis whose aim is to analyse J. K. Rowling’s set of magical novels through the lens of literature. We will focus on the text in order to uncover the literary gems which are hidden within the weft of the text. The aim of this thesis is to explain why Harry Potter can be considered as part of the literary canon and how the text creates a mirror-universe which enables the reader to rediscover his own world.In order to better analyse the literary qualities of the text four main themes are put forward in this thesis: the links with children’s literature, intertextuality, language and history. Our thesis question centres on the question of passage between our world and the magical one through the notion of language. Indeed, language enables bridges to be built between our culture, our literature, our myths and our history and the magical universe of the books. This transposition enables the reader to rediscover his own world thanks to a clever hall of mirrors effect. Through his reading process the reader is thus able to go through the looking-glass and discover a wonderful and terrifying world where the best and the worst of our society and history is represented.This thesis reveals how in-depth analyses of intertextuality, language and history display the literary qualities of Harry Potter and enable an academic reading of the text
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Philbrick, Rachel Severynse. "THE GHOST OF HERACLES: THE LOST HERO’S HAUNTING OF ARGONAUTICA 2." UKnowledge, 2011. http://uknowledge.uky.edu/gradschool_theses/84.
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The abandonment of Heracles at the end of Book 1 in Apollonius Rhodius’ Argonautica marks a turning point for Jason and the rest of the Argonauts. The aid of their mightiest hero, upon whose strength they had relied, is lost to them and they must find a means of accomplishing their nearly impossible mission without him. Allusions to Heracles occur throughout Book 2, in all nine units of action, drawing the reader’s attention to Argonauts’ efforts to carry on in the face of their loss. These allusions can be grouped into four categories: explicit mention, verbal echo, extrapolative allusion, and geographic reference. The poet’s deliberate deployment of these allusions highlights the extent to which Heracles’ strength-based approach to problem solving still influences the Argonauts’ actions in Book 2. This approach contrasts with the role played by divine agents, which increases markedly in the poem’s second half, beginning with Book 3.
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Fraatz, Charles Thomas. "Blessed Is the One Who Reads and Those Who Hear the Words of Prophecy: Rome and Revelation’s Use of Scripture." Thesis, Boston College, 2017. http://hdl.handle.net/2345/bc-ir:107708.
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Thesis advisor: Pheme PerkinsThe recognition of Rome in the ciphered images of Revelation 13 and 17–18 is a hallmark of historical criticism on the Revelation to John (John’s Apocalypse). This dissertation examines Revelation’s use of scripture to characterize the Roman Empire like the nations God has already defeated. The prophet-seer John spurred his audience, the churches of Asia Minor, to abandon pagan practices of eating meat sacrificed to idols and participation in emperor worship, practices seemingly tolerated by John’s opponents, Jezebel and the Nicolaitans. Unlike the majority of contemporary Jewish and Christian apocalypses, Revelation uses neither ex eventu prophecy nor pseudepigraphic narration to authorize its message to “come out” of Rome. Instead, Revelation alludes to scripture hundreds, if not a thousand, times. When describing Rome in Revelation 13 and 17–18, John alludes some six dozen times to the defeated Seleucid king Antiochus IV Epiphanes, the nations of Babylon, Tyre, Nineveh, and Edom, and the justly punished Judah and Samaria. God showed his servants the prophets the downfall of these powers, and they all fell. Likewise, he has shown John the vision of Rome’s desolation and the things which will happen to it soon
Thesis (PhD) — Boston College, 2017
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Theology
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Khvochevsky, Ruslan. "Manipulations illocutoires : théorie et fonctionnement dans le discours politique." Paris 4, 2008. http://www.theses.fr/2008PA040050.
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Comment décrire et expliquer, en termes linguistiques, les nombreux faits discursifs qui gravitent autour du terme "allusion" ? En effet, la vision rhétorique traditionnelle ne s’étend pas aux actes allusifs du discours "quotidien". Cet ouvrage propose de distinguer un régime spécial de "manipulation illocutoire" pour les actes de discours indirects réalisés sur le mode de suggestion ou d’insinuation. Le statut de tels énoncés hésite entre la connotation accidentelle et le sous-entendu assumé, et cette incertitude, voulue par le locuteur, constitue le sens même d’une "manipulation" dans un acte de discours. La thèse propose aussi un modèle d’énoncé allusif, qui renvoie à un topos polémique (un "prétexte") et exprime une tension illocutoire, s’adaptant de préférence au régime de manipulation (I0 et/ou I1). Une étude de corpus analyse les aspects linguistiques des manipulations illocutoires dans le discours politiqueHow to describe and explain, by linguistic means, numerous speech events revolving around the term(s) "allusion / hint" ? In fact, the traditional rhetorical vision does not include the allusive acts of “everyday discourse". This study proposes to distinguish a special profile of "illocutionary manipulation" for the indirect speech acts uttered in a manner of suggesting or insinuating. The position of such utterances hesitates between accidental connotation and deliberate implication, and this uncertainty, intended by the speaker, is the sense of the "manipulation" in a speech act. The thesis also proposes a model of allusive utterance, which refers to a polemical topos (a "pretext") and expresses an illocutionary tension, especially in a manipulative manner (I0 and/or I1). A corpus-based study analyses the linguistic aspects of the illocutionary manipulations in political discourse
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Campbell, Charles. "Poets and Poetics in Greek Literary Epigram." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1384333736.
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Wilkenfeld, Jacob Nelson Leonard Diane R. "To sing is more than to remember literary and philosophical allusion in the songs of Caetano Veloso /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2006. http://dc.lib.unc.edu/u?/etd,467.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2006.Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Curriculum of Comparative Literature." Discipline: Comparative Literature; Department/School: Comparative Literature.
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van, der Westhuizen Petrus J. "Modeling as Compositional Tool in the Piano Works of Francis Poulenc." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1178571085.
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Haines, Zachary A. "HUMOROUS JUDGMENT OF INCONGRUITY IN SHORT INTERNET VIDEOS." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1627070680501086.
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Balogh, Alexandra. "Aniara - en revy om människan i tid och rum : Stil som meningsbärare." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-134820.
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The opera Aniara by Karl-Birger Blomdahl premiered in 1959 and gained much attention forcombining its general serial style with other musical stylistic elements, as it alludes to and citesworks of other styles such as romanticism and jazz. This circumstance was considered amongother things to have led to Aniaras success, as it made the modernistic music more accessible to ageneral audience. I analyse two scenes in Aniara which contain allusions to and citations ofEllington's Ko-ko, Alfvén's Midsommarvaka, Shostakovich's Fifth Symphony, Beethoven's Ninthand the Swedish psalm Tryggare kan ingen vara regarding their intertextual meanings andaccording to Claudia Gorbman's theory of narrativity in film music. The overall function of theallusions and citations is to describe the conflicting emotions and mental states of the people ofthe spaceship Aniara: how they react to the occurring events during their voyage in space andtheir lack of hope. The intertextual references deepen the understanding of the narrative, and thesections with allusions are perhaps comparable to the aria in 1800th century opera, while themainly modernistic passages have a function similar to the drama-propelling recitative. Stylisticdiversity was not new in 20th century opera at the time of Aniara's premiere, however, the clearintertextuality of Blomdahl's allusions in service of narrative can be seen as ahead of its time.
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Theocharous, Myrto. "Lexical dependence and intertextual allusion in the Septuagint of the twelve prophets : studies in Hosea, Amos and Micah." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609597.
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Kline, Jonathan Greenlee. "Transforming the Tradition: Soundplay as an Interpretive Device in Innerbiblical Allusions." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11499.
Full textAbstract:
The present study concerns the use in the Hebrew Bible of paronomasia (soundplay) for the purpose of alluding to and interpreting antecedent literary traditions also found in the Bible. The focus of the investigation lies on the biblical writers' use of allusive paronomasia for the purpose of constructing theological discourse, that is, in service of their efforts to describe the nature of God and his relationship to humanity. By showing that a variety of biblical texts contain examples of allusive paronomasia employed for this purpose, the study demonstrates that this literary device played an important role in the growth of the biblical text as a whole and in the development of ancient Israelite and early Jewish theological traditions.Near Eastern Languages and Civilizations