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Journal articles on the topic 'Allusion'
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1
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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Стрельникова, Лариса Юрьевна. "SEMANTICS OF ALLUSIONS IN THE NAMES OF RUSSIAN-LANGUAGE WORKS BY V. NABOKOV IN THE CONTEXT OF THE POETICS OF MODERNISM AND POSTMODERNISM." Вестник Тверского государственного университета. Серия: Филология, no. 1(68) (April 9, 2021): 79–89. http://dx.doi.org/10.26456/vtfilol/2021.1.079.
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В статье рассматривается семантика аллюзий в названиях русскоязычных произведений В. Набокова. Следуя принципам неклассической поэтики модернизма и постмодернизма, писатель превращает аллюзию в средство художественной деконструкции текста. Аллюзивные маркеры усложняют семантику названия, придавая произведению дополнительные смыслы и демонстрируя специфику авторского стиля. The article deals with the semantics of allusions in the titles of Russian-language works by V.V. Nabokov. Following the principles of non-classical poetics of modernism and postmodernism, the writer turns allusion into a means of artistic deconstruction of the text. Allusive markers complicate the semantics of the title, giving the work additional meanings and demonstrating the specifics of the author’s style.
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Kravtsova, Mariia. "BIBLICAL INTERTEXT IN W. SHAKESPEARE’S TRAGEDY “KING LEAR” AND PECULIARITIES OF ITS REPRODUCTION IN THE UKRAINIAN TRANSLATION BY PANTELEIMON KULISH." Inozenma Philologia, no. 135 (December 15, 2022): 40–54. http://dx.doi.org/10.30970/fpl.2022.135.3806.
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The article examines W.Shakespeare’s use of biblical allusions in the tragedy “King Lear” and peculiarities of their reproduction in the Ukrainian translation by P. Kulish. Such concepts as “allusion”, “bibleism” and “bibleme” are considered herein, as well as the specifi c features of their reproduction. It was established that the adequate reproduction of the biblical allusions of the source text was facilitated by translator’s thorough knowledge of the Holy Scriptures, as far as P. Kulish translated into Ukrainian “Pentateuch”, “Job”, Psalter, Gospel (co-authored with I. Puliui) and carried out the fi rst complete Ukrainian translation of the Bible (in co-authorship with I. Puliui and I. Nechui-Levytskyi). It was found that in some places properly reproduced biblemes were replaced during the editing process, which led to the loss of intertextuality. It has been clarifi ed that the source text contains the following implicit biblemes: the story of Job, intertexts of the Fall and fratricide, images of the Apocalypse and the suff erings of Jesus. It is established that the use of biblical allusions creates in the text the biblical archetypes of Christ, Job, the Devil, Cain and Abel, which is properly refl ected in the translation. It has been revealed that the translator’s ability to recognize a biblical allusion in the source text depends on the appropriate cognitive base that the translator has, as well as on the recipient’s linguistic and cultural competence which will enable proper interpretation. The possibility to recognize the proposed equivalent in the translated text, if we are talking about an allusion to a certain literary work, depends on the presence in the host culture of a translation of the text referred to by the original author and the reader’s level of familiarity with the denotations of the allusion. The conclusion has been drawn that when trying to fi nd an appropriate equivalent, it is important for the translator not to deprive the reader of the pleasure of decoding hidden meanings, that is, not to resort to overinterpretation in the explanation of the allusion. Key words: Shakespeare, “King Lear”, translation, intertextuality, biblical allusion, bibleme.
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Gargaillo, Florian. "Queer Allusion: Wilde, Housman, Cullen." Modern Language Quarterly 83, no. 1 (March 1, 2022): 57–80. http://dx.doi.org/10.1215/00267929-9475030.
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Abstract This essay argues for the distinctive role of allusion in queer poetry of the pre-Stonewall era, using the work of Oscar Wilde, A. E. Housman, and Countee Cullen as case studies. Most allusions depend on implicit verbal echoes that can be identified by readers able and willing to recognize them. That mix of secrecy and openness was especially attractive to gay poets, since it enabled them to express their desires obliquely by writing through authors who hinted at similar experiences. Queer allusion thus offers an alternative to long-standing theories of influence that describe poetry’s relationship to the past in terms of debt or competition. Unlike these models, queer allusion allowed poets to foster connections on the page and find relief from the loneliness that was endemic to gay life.
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Revaz, Françoise. "L’allusion dans les titres de presse." Travaux neuchâtelois de linguistique, no. 44 (September 1, 2006): 121–31. http://dx.doi.org/10.26034/tranel.2006.2750.
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This article is aimed at observing press titles containing allusions to supposedly familiar utterances (proverbs, movie titles, excerpts from songs, fixed formulas, advertising slogans, etc). It begins by situating the allusion within the general context of intertextuality, and then proceeds to show how the allusion can be spotted and what linguistic operations it manifests itself through. Our corpus of roughly fifty recent press titles offers numerous examples as well as detailed analyses of the most common operation, namely substitution.
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Machacek, Gregory. "Allusion." PMLA/Publications of the Modern Language Association of America 122, no. 2 (March 2007): 522–36. http://dx.doi.org/10.1632/pmla.2007.122.2.522.
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The study of allusion has been beset by limiting assumptions, conceptual murkiness, and terminological imprecision; moreover, many poststructuralist theorists regard such study as having been superseded by newer conceptions of intertextuality. This essay seeks to clarify the nature of allusion and the terminology by which it is analyzed and to place it on a firmer footing within poststructuralist literary criticism. I distinguish two forms of allusion often conflated-learned reference and phraseological adaptation–and elucidate the elements of a phraseological adaptation. I distinguish diachronic allusion from synchronic intertextuality, as poststructuralist theorists insist should be done, but then suggest how coordinating the two can enrich the analytic power of each way of conceiving textual interrelation.
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Noble, Paul. "ESAU, TAMAR, AND JOSEPH: CRITERIA FOR IDENTIFYING INNER-BIBLICAL ALLUSIONS." Vetus Testamentum 52, no. 2 (2002): 219–52. http://dx.doi.org/10.1163/156853302760013875.
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AbstractAlthough the importance of inner-biblical allusion is now widely recognised, there is still some uncertainty about the criteria by which genuine allusions may be distinguished from, say, merely fortuitous resemblances. The present article tries to illuminate these issues through a study of Genesis xxxviii. Since there are numerous individual similarities between this chapter and the Succession Narrative, some scholars have claimed (by an argument of cumulative probabilities) that one story is intentionally alluding to the other. This method of identifying allusions, however, is here rejected - both because of difficulties in carrying it through consistently and non-arbitrarily, and also because it would lead to an implausible plurality of further supposed-allusions. Instead, a methodology based upon R. Alter's notion of a type-scene is proposed, by which allusion is discovered through identifying shared patterns of interconnected resemblances. Applying this methodology also to Genesis xxxviii, it is argued both that this text makes numerous allusions to the stories of Jacob and Joseph, and that recognising these allusions adds very considerably to our understanding of all three stories.
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Walker, Tom. "The Pornographer and McGahern's Allusive Practice." Irish University Review 47, no. 2 (November 2017): 281–97. http://dx.doi.org/10.3366/iur.2017.0281.
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Allusions to other texts abound in John McGahern's fiction. His works repeatedly, though diffidently, refer to literary tradition. Yet the nature of such allusiveness is still unclear. This article focuses on how allusion in The Pornographer (1979) is depicted as an intellectual and social practice, embodying particular attitudes towards the function of texts and the knowledge they represent. Moreover, the critique of the practice of allusion that the novel undertakes is shown to have broader significance in terms of McGahern's whole oeuvre and its evolving attempts to salvage something of present value from the literature of the past.
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Zubakina, T. N., and E. D. Sapko. "Decoding Cultural-Code Meaning of Allusion in Translations (Xi Jinping’s Speech at Davos Forum 2021)." Nauchnyi dialog, no. 9 (September 29, 2021): 98–112. http://dx.doi.org/10.24224/2227-1295-2021-9-98-112.
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The results of the analysis of the rhetoric of Xi Jinping’s public speech are presented. The novelty of the research lies in an attempt of a comparative interpretation of allusive linguistic representations of the text of the speech and its translations into English and Russian. It is emphasized that the interpretation of linguistic representations or their decoding is possible in the contexts of linguacultural accents of allusions of the text and dictionary entries, since by its sign essence language is one of the codes of culture. The authors proceed from the fact that the allusion, being a cognitive category, has a cultural-code meaning (CC-meaning), which is reflected not only in the vocabulary conceptual content, but also in the system of extralinguistic knowledge, associations and images that acquire meaning, enshrined in the culture of linguistic community. The results of an interpretative analysis in order to identify allusive hidden meanings and cultural-code meanings of the units under study are presented in the article. An algorithm is proposed for the interpretative analysis of figurative units in the speech of Xi Jinping by comparing their representations in three languages. The question is raised that the allusions in the speech of the Chinese leader and their semantic correspondences in the translation texts are addressed both to the internal addressees / speakers of the Chinese language and to the external — foreign-language audience.
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Nikitina, Juliya, Oksana Lebedinskaya, and Olga Plakhova. "Allusion as a feature of intertextuality in newspapers and publicistic discourses." SHS Web of Conferences 55 (2018): 04021. http://dx.doi.org/10.1051/shsconf/20185504021.
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Discourse studies, being quite extensive in recent decades, remain more focused on literary genres (poems, short stories, novels), which are subject to consideration as pragmalinguistics and sociolinguistics for a particular recipe ideas typical situation. Meanwhile, newspapers and publicistic discourse can be considered a vast field for research, both from the point of view of text structures, its content and formal features, not the least of which are the figures of speech, in particular, allusion. The variety of types of allusions in newspaper and magazine texts and their titles gives them the richness, emotion and angst. This article discusses the text – discourse distinguishing; intertextuality and its features; peculiarities of functioning of the allusions in the headlines of newspaper and magazine articles in English. Also, the article provides statistical data on the frequency of allusions to the most vivid thematic groups such as culture, sports, economics and politics. Being a very interesting element of intertextuality, allusion has its potential in the process of formation of skills of all types of speech activity.
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Seufert, Matthew. "Zechariah 1.11's Allusion to Isaiah and Jeremiah." Journal for the Study of the Old Testament 42, no. 2 (November 28, 2017): 247–63. http://dx.doi.org/10.1177/0309089216670551b.
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Al Wolters recently suggested that Zech. 1.11c, ‘all the earth is at rest and quiet’, alludes to Isa. 14.7. His interpretation, however, does not fit well with the context of Zechariah's vision and does not take into account canonical Zechariah's method of allusion. This article offers a reinterpretation of the allusion proposed by Wolters in light of these two things. Further, it seeks to establish two additional Jeremian texts to which Zechariah alludes, both of which fit the allusive mold cast by Zechariah's use of Isaiah.
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Aurangzeb, Sahibzada, Liaqat Iqbal, and Sahibzada Jehanzeb. "Cultural and Historical Progression: The Psychology of Literary Allusions in Theodore Dreiser's The Financier (Trilogy of Desire)." Global Regional Review V, no. II (June 30, 2020): 169–75. http://dx.doi.org/10.31703/grr.2020(v-ii).18.
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The psychology of allusion is often multi-faceted as a reference to an artefact, which could be a character from a literary piece, the quoted words of a character, a place in the country or an event from history. The reference item should be familiar to the readers. The current research identifies literary allusion in The Financer (1912) and the characters referred to Ouida's Tricotrin (1869), Charlotte Bronte's Jane Eyre (1847), Amelia Edith Huddleston Barr's A Bow of Orange Ribbon (1886), Edward Bulwer Lytton's Kenelm Chillingly (1874), and William Shakespeare's Macbeth (1603) which is explained with reference to the plot of Theodore Dreiser's Trilogy of Desire: The Financier (1912), The Titan (1914) and The Stoic (1947). The available literature review testified that a thorough evaluation of the allusions within the novel had not been accomplished to date, although these allusions link the literary pieces of the greatest minds in literature.
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Martin, Wallace. "Defining Allusion." PMLA/Publications of the Modern Language Association of America 123, no. 2 (March 2008): 477–78. http://dx.doi.org/10.1632/pmla.2008.123.2.477.
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Gournelos, Ted. "Blasphemous Allusion." Journal of Communication Inquiry 33, no. 2 (December 17, 2008): 143–68. http://dx.doi.org/10.1177/0196859908329278.
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Lerion, Dennis Bruce. "Allusion as an Intertextuality Element in Waray Poetry." International Journal of Language and Literary Studies 1, no. 3 (December 31, 2019): 126–37. http://dx.doi.org/10.36892/ijlls.v1i3.64.
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One of the thriving regional literatures in the Philippines is the Waray poetry, and one of the recognized Waray writers is Francisco Aurillo. As commemorative pieces and commentaries on contemporary life in Leyte and Eastern Visayas, Aurillo’s depiction of the cultural and social aspects of the region are drawn from references of Biblical characters, historical figures, and mythological heroes. For years, there has been a growing interest in reviving the dying Waray literature. However, very limited studies have been conducted to assess the presence of intertextuality elements, and how these elements impact versification and meaning in Waray literature. Guided by Paul Ricoeur’s Theory of Textual Interpretation and Julia Kristeva’s Concept of Intertextuality, this study identified the allusions used in Francisco Aurillo’s poem “Diri Ha Tinapay La,” and analyzed how the use of allusions impacts the versification and meaning of the poem. The results of this study revealed that the use of allusion increased the degree of literariness, depth of meaning, and stronger connections between the verses in the poem. It was also found that allusions were used as a way to shift the mood of the poem and served as a presaging and explications to the imagery, metaphors and symbolisms used in the text. The use of allusion, as an intertextuality elements served as a rhetorical device driving the poem to its conclusion.
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Adams, Sean A. "Memory as overt allusion trigger in ancient literature." Journal for the Study of the Pseudepigrapha 32, no. 2 (December 2022): 110–26. http://dx.doi.org/10.1177/09518207221137062.
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This paper begins with a brief definition of allusion. The majority of the paper investigates the ways that memory language was used by ancient authors (Jewish, Greek, and Latin) as a literary technique to signal overt intertextual and intratextual allusions. I argue that this is a recognized, intentional, and cross-cultural phenomenon with varied practices and that scholars need to consider this in future studies of intertextuality.
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DiFransico, Lesley. "Identifying Inner-Biblical Allusion through Metaphor." Vetus Testamentum 65, no. 4 (October 28, 2015): 542–57. http://dx.doi.org/10.1163/15685330-12301219.
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Commentators have often noted the numerous prophetic allusions contained in Psalm 51. Identifying and evaluating the nature of such inner-biblical allusions, however, is not without difficulty. An additional feature that connects the psalm to the prophets is the concept of washing away sin (Ps 51:4, 9; Isa 1:16; 4:4; Jer 2:22; 4:14), a distinctive metaphor that is found explicitly only in these passages. This paper will evaluate the connection between Psalm 51 and these prophetic passages vis-à-vis a study of the washing metaphor and will utilize the distinctive metaphor as a criterion for identifying and exploring inner-biblical allusion. The analysis of a metaphor that is rare or unusual within the Hebrew Bible has the potential to inform the identification and exploration of inner-biblical connections and can aid in the discussion of dependency and directionality.
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Leventhal, Max. "Jewish Greek allusion in theory and in practice: Aristobulus and the Letter of Aristeas." Journal for the Study of the Pseudepigrapha 32, no. 2 (December 2022): 127–46. http://dx.doi.org/10.1177/09518207221124493.
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This article examines how two Jewish Greek prose writers refer to aspects of the Greek and Jewish literary traditions. The first section studies the fragments of Aristobulus and the multiple models of reading and making meaning that they exhibit and the extent to which this aimed at aligning Greek and Jewish ideas. In the second section, I turn to the Letter of Aristeas. In this text, I propose that an application of Aristobulus’s theorizing can be observed in practice. Through three case studies of under-appreciated and previously unobserved allusions, I demonstrate that the entire range of allusive strategies implied by Aristobulus’s discussions are to be found in the Letter’s narrative and I argue that their use demands a readership able to set Greek and Jewish literary traditions in various configurations. What will emerge is a Jewish Greek literature attuned to the cultural politics of allusion.
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Panoussi, Vassiliki. "Vergil's Ajax: Allusion, Tragedy, and Heroic Identity in the Aeneid." Classical Antiquity 21, no. 1 (April 1, 2002): 95–134. http://dx.doi.org/10.1525/ca.2002.21.1.95.
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This essay attempts a reevaluation of the use of Greek tragedy in Vergil's Aeneid, drawing on recent advances in the study of literary allusion and on current approaches to Greek drama which emphasize the importance of social context. I argue that extensive allusions to the figure of Ajax in the Aeneid serve as a subtext for the construction of the personae of Dido and Turnus. The allusive presence of Ajax attests to the existence of a tragic register in the epic, which intersects with and complicates the multiple allusive registers within the poem. Moreover, I propose that a detailed examination of Vergil's manipulation of tragedy's articulation of socio-political and ideological problems may in turn illuminate the Aeneid as a national epic and its much-contested relationship with Augustan ideology. More specifically, I argue that issues of identity and moral action explored in Sophocles' Ajax are crucial in the cases of Dido and Turnus, who similarly find themselves in conflict with and unable to adapt to the new social and political structure of Aeneas' new order. Like Ajax, Dido and Turnus define themselves through constant reference to their relationship with their people. All three, however, engage in action which pits them against the interests of their communities and which results in their complete isolation. Unable to adjust their behavioral code to ensure their survival, Dido and Turnus embody a heroic ideal which, though laudable, can have no place in Aeneas' Roman future. Vergil thus mobilizes a tragic allusive register in order to illustrate the tension between the celebration of this ideal and the realization that social change has rendered it obsolete. At the same time, the loss of the ideals that Dido and Turnus represent necessitates the articulation of a comparable, if not superior, ethical code which Aeneas is called on to embody. Allusive evidence linking Aeneas to the tragic Ajax, however, seems to indicate Aeneas' failure to emerge as a superior moral force in the poem.
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Harrison, LeRon James. "Staging Poetic Balance: A New Introduction to and Translation of the Noh Play Hakurakuten." Asiatische Studien - Études Asiatiques 73, no. 2 (July 26, 2019): 257–76. http://dx.doi.org/10.1515/asia-2019-0014.
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Abstract The introduction discusses the noh play Hakurakuten in relation to the earlier introduction to and translation of the play by Arthur Waley, the reading of the play by Leo Shingchi Yip, and the concepts of allusion and allusive space advanced by Joseph Pucci. Using Pucci’s concepts, I discuss the allusions to literary texts, cultural practices, and historical events and persons in Hakurakuten in a new manner as well as assess the aspects of the play both Waley and Yip overlook and how Waley and Yip’s readings fit into an allusive space reading of the play. The translation is based on the version of the play appearing in Itō Masayoshi’s annotated volume and incorporates as much as possible the information Itō gives. It contains a translation of the kyōgen interlude, which is important to appreciating the central theme of the play and was left out of the Waley translation. It also contains more footnotes than the earlier Waley translation, notes that point out matters such as puns in language and source material for lines.
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Ni, Wanyu. "A Study On the Translation of Allutions in Ancient Chinese Poetry." International Journal of Education and Humanities 6, no. 2 (December 19, 2022): 191–93. http://dx.doi.org/10.54097/ijeh.v6i2.3710.
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The translation of allusion is based on the translation of text to explore its connotation. It is not only the transformation of literal meaning but also an effective communication of cultural information. This paper takes Xu Yuanchong and He Zhongjian’s translation of Liu Yuxi’s ‘A Reply to Bai Juyi’s Poem at Our First Meeting in Yangzhou’ as an example to study their different understanding of the allusions in the same poem and their approaches to the translation of allusions in ancient Chinese poems.
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Vasylenko, Dmytro. "METAPHORICAL ALLUSION IN MILITARY POLITICAL DISCOURSE." Scientific Journal of Polonia University 50, no. 1 (April 28, 2022): 138–43. http://dx.doi.org/10.23856/5016.
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The research paper is devoted to the diachronic analysis of political metaphoric allusions based on military terms in the English language. The study determines the ways of political military discourse allusions development in the 20th and at the beginning of the 21st century. The main objective of this work is to afford deeper insights into the genuine nature of metaphoric allusions, defining their forms, types and functions. The semantic and functional issues related to metaphoric allusions in the sphere of politics are the subject of the article, which has the aim of providing their interpretations, investigating their sources and use. The methods of research: empiric research, monitoring of mass media and multimedia content, classification, content analysis, semantic analysis. War words and phrases used by politicians in public addresses prone to generate new shades of meanings through military intertextual patterns and enrich the work by association thus giving it depth by revealing an implicit nature in political discourse through allusion. Its universal character has become common knowledge and ubiquitous in all walks of life. Being a figure of speech through which some counterparts are compared on the basis of their aspects to history, culture, mythology, literature, war and religion. Metaphoric allusions fill lexical gaps, characterize and deepen the understanding of the essence of existing objects.” Using war metaphoric allusions shuffles categorization in insidious ways. As such, politicians call for obedience rather than awareness and appeal to our patriotism, not to our solidarity”. (Costanza Musu , 2020: April 8). The core ideas are often taken from common sources, like war, battle, conflict which usually refer to some sort of competition, fight, or struggle and serve as a means of intertexuality in further semantic transformation in political domain acquiring a novice emotional charge.
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Knight, Virginia. "Apollonius, Argonautica 4.167–70 and Euripides' Medea." Classical Quarterly 41, no. 1 (May 1991): 248–50. http://dx.doi.org/10.1017/s0009838800003736.
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The study of Homeric echoes and allusions in the Argonautica has overshadowed the influence of other literature, even when, as with tragedy, such influence is clear. The easiest framework for studying allusions to tragedy in Apollonius is comparison with the different types of allusion to Homer. Situations in the epic may recall situations and relationships in tragedy, and verbal similarities to passages in tragedy are also identifiable, despite differences of dialect and metre. The latter are often enhanced by rare words, as Homeric hapax legomena and other Homeric rarities establish allusions to the Iliad and Odyssey.
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Lester, G. Brooke. "Inner-Biblical Allusion." Theological Librarianship 2, no. 2 (October 12, 2009): 89–93. http://dx.doi.org/10.31046/tl.v2i2.110.
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Leddy, Michael. "LIMITS OF ALLUSION." British Journal of Aesthetics 32, no. 2 (1992): 110–22. http://dx.doi.org/10.1093/bjaesthetics/32.2.110.
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Warburton, Nigel. "Art and allusion." Philosophers' Magazine, no. 19 (2002): 40–42. http://dx.doi.org/10.5840/tpm20021952.
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Wlodarski, Rafael, and Eiluned Pearce. "The God Allusion." Human Nature 27, no. 2 (March 29, 2016): 160–72. http://dx.doi.org/10.1007/s12110-016-9256-9.
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Day, T. "Review: Allusion Shines." Cambridge Quarterly 34, no. 1 (January 1, 2005): 75–78. http://dx.doi.org/10.1093/camqtly/34.1.75.
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Layton, J. D. "Structures of allusion." Journal of Visual Art Practice 8, no. 1 and 2 (May 2009): 99–117. http://dx.doi.org/10.1386/jvap.8.1and2.99_1.
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Machacek, Gregory. "Defining Allusion - Reply." PMLA/Publications of the Modern Language Association of America 123, no. 2 (March 2008): 478–79. http://dx.doi.org/10.1632/s0030812900168774.
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Curl, James Stevens. "Gardens of allusion." Interdisciplinary Science Reviews 22, no. 4 (December 1997): 325–42. http://dx.doi.org/10.1179/isr.1997.22.4.325.
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Cunningham, Clifford J. "Milton’s Paradise Lost: Previously Unrecognized Allusions to the Aurora Borealis, and a Solution to the Comet Conundrum in Book 2." Renaissance and Reformation 39, no. 1 (April 26, 2016): 5–34. http://dx.doi.org/10.33137/rr.v39i1.26541.
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This article reveals that John Milton employed an allusion to the aurora borealis in book 6 (79–83) of Paradise Lost, unrecognized in more than three centuries of scholarly analysis. Two other likely allusions, and one certain, to the aurora have also been identified. This research casts doubt on the long-held belief, made popular by the astronomer Edmund Halley (1656–1742), that no notable aurora was visible in England in the seventeenth century. After examining an overlooked note by the English historian William Camden (1551–1623), this article explores the possibility that Milton actually saw an aurora. A solution is also presented here to the long-standing conundrum of the comet near the “Arctic” constellation Ophiuchus in book 2 (707–11) of Paradise Lost.
Cet article révèle que John Milton fait allusion à une aurore boréale au sixième livre (79–83) de Paradise Lost, allusion qui est restée ignorée pendant plus de trois siècles de lectures savantes. Une autre allusion à une aurore boréale, ainsi que deux autres, probables, ont été identifiées. Cette recherche remet en question l’opinion tenue de longue date, et circulée par l’astronome Edmund Halley (1656–1742), qu’aucune véritable aurore boréale ne put être observée en Angleterre au dix-septième siècle. Grâce à l’analyse d’une note, longtemps négligée, de l’historien anglais William Camden (1551–1623), cet article explore la possibilité que Milton ait pu réellement observer une aurore boréale, ce qui pourrait alors résoudre l’énigme de la mention, au deuxième livre du Paradise Lost (707–711), d’une comète près de la constellation « arctique » Ophiuchus.
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Hurley, David Ross. "Dejanira, Omphale, and the emasculation of Hercules: allusion and ambiguity in Handel." Cambridge Opera Journal 11, no. 3 (November 1999): 199–213. http://dx.doi.org/10.1017/s0954586700005048.
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The indebtedness of Handel's English librettos to their sources is increasingly well understood, but much remains to be said concerning the function of those sources in their new context. In other words, scholars have devoted too little attention to literary allusiveness – intentional references to earlier works and their intended ‘messages’ to the audience. That such allusions can be found in these librettos by British authors almost goes without saying, for the British poetry of Handel's day is saturated with allusions. Reuben Brower, in fact, has called the Augustan poets the writers of ‘the poetry of allusion’.
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Stringer, Gary A., and Robert H. Ray. "The Herbert Allusion Book: Allusions to George Herbert in the Seventeenth Century." South Central Review 5, no. 2 (1988): 93. http://dx.doi.org/10.2307/3189576.
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Todd, Richard. "The Herbert Allusion Book: Allusions to George Herbert in the Seventeenth Century." George Herbert Journal 11, no. 1 (1987): 58–62. http://dx.doi.org/10.1353/ghj.1987.0001.
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Kelsey, Marian. "The book of Jonah and the theme of exile." Journal for the Study of the Old Testament 45, no. 1 (August 14, 2020): 128–40. http://dx.doi.org/10.1177/0309089219864607.
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This article examines the exilic theme of many inner-biblical allusions in the book of Jonah. Although there are few allusions to the Babylonian exile itself, allusions to the primeval and exodus narratives focus upon and draw out the exilic motifs in those texts. The allusions characterize the prophet Jonah, accentuating his wrongdoing and dissatisfaction while also indicating a more hopeful outcome for him than the ending of the book would otherwise suggest. Furthermore, the allusions illustrate the literary approach of the author in using biblical narratives to enrich his own story while simultaneously influencing the reader’s interpretation of the texts that he evokes. This insight into the author’s techniques is informative for exploring other instances of inner-biblical allusion in the book.
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Lowe, Dunstan. "WOMEN SCORNED: A NEW STICHOMETRIC ALLUSION IN THE AENEID." Classical Quarterly 63, no. 1 (April 24, 2013): 442–45. http://dx.doi.org/10.1017/s0009838812000742.
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Intense scrutiny can raise chimaeras, and Virgil is the most scrutinized of Roman poets, but he may have engineered coincidences in line number (‘stichometric allusions’) between certain of his verses and their Greek models. A handful of potential examples have now accumulated. Scholars have detected Virgilian citations of Homer, Callimachus and Aratus in this manner, as well as intratextual allusions by both Virgil and Ovid, and references to Virgil's works by later Roman poets using the same technique. (For present purposes I disregard the separate, though related, phenomenon of corresponding numbers of lines in parallel passages: G. Knauer, Die Aeneis und Homer (Göttingen, 1964) suggests several examples of such correspondences between Homer and Virgil, especially in speeches. Another purely formal mode of allusion faintly present in Roman poetry is homophonic translation (the technique which Louis Zukofsky's 1969 translations of Catullus pursue in extenso); thus Virgil's fagus, beech, corresponds with Theocritus' phagos, oak.) If genuine, the phenomenon lacks any consistent method or regular pattern (and the degree of plausibility varies); if genuine, it is very rare, even if accidents in textual transmission could have obscured some examples; if genuine, it probably originated in the Hellenistic period, although such a case has yet to be made. Virgil presently seems the earliest and most copious practitioner of stichometric allusion. A previously undetected example in the Aeneid is proposed below.
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Farahani, Mehrdad Vasheghani, and Nima Mahmoudi Kaleybar. "Domestication and foreignisation of allusions in Persian translations of Waiting for Godot: A case study." Global Journal of Foreign Language Teaching 9, no. 2 (May 31, 2019): 91–100. http://dx.doi.org/10.18844/gjflt.v9i2.3633.
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In this thesis, Samuel Beckett’s Waiting for Godot along with its Persian translation was analysed in terms of Venuti’s dichotomy of domestication and foreignisation. The allusion samples were selected through the whole book. Then, the translations of the allusions were analysed according to Venuti’s framework. It was found that foreignisation happened mainly when there was a proper name (PN) in the item which was translated. Items without PN were almost domesticated. Even if they had been foreignised, the referents for the TT reader would have been ungraspable mainly due to the cultural and religious differences. These findings will help literary translators to have a better understanding of such plays. Taken that the translators would stick to the findings of this research, the readers would be able to have an expressive translation of the play rather than an informative piece of translation. Keywords: Domestication, foreignisation, allusion, style, literary translation.
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Metcalf, Reed. "Lessons on the Road to Emmaus: Intertextual Connections between Luke-Acts and Israel’s Scriptures." Currents in Biblical Research 21, no. 2 (February 2023): 121–44. http://dx.doi.org/10.1177/1476993x231151741.
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This article surveys scholarly work on intertextual connections between Luke-Acts and Israel’s Scriptures, focusing on those works that interpret the literary and theological payoff of quotations, allusions, and echoes in Luke’s Doppelwerk. After reviewing major contributors to NT intertextuality generally, this survey focuses on those works that narrow in on Luke-Acts, organized into two groups: eclectic works, that study Luke’s allusion to many sources; and narrow-focused works, that study Luke’s allusions to one book (e.g., Isaiah) or one corpus (e.g., Psalms). This organization and a concluding summary will help scholars see what remains to be explored in Lukan intertextuality.
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Dainotti, Paolo. "Virgilian Intertexts and Ironic Pathos in Propertius 2.16." AION (filol.) Annali dell’Università degli Studi di Napoli “L’Orientale” 43, no. 1 (February 22, 2022): 71–84. http://dx.doi.org/10.1163/17246172-40010049.
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Abstract Starting from an allusion to Eclogue 1 in Propertius 2.16, the article provides a new interpretation of the entire elegy in the light of the complex intertextual play which pervades the whole poem. Eclogues 1 and 10, the Georgics and even Horace are here combined with allusions to Comedy and evoked only to be subverted and parodied in a piece of Callimachean poetry, full of ‘metaliterary’ irony.
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Farahani, Mehrdad Vasheghani, and Nima Mahmoudi Kaleybar. "Domestication and foreignisation of allusions in Persian translations of Waiting for Godot: A case study." International Journal of New Trends in Social Sciences 2, no. 2 (December 28, 2018): 39–48. http://dx.doi.org/10.18844/ijntss.v2i2.3872.
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In this thesis, Samuel Beckett’s Waiting for Godot along with its Persian translation was analysed in terms of Venuti’s dichotomy of domestication and foreignisation. The allusion samples were selected through the whole book. Then, the translations of the allusions were analysed. It was found that foreignisation happened mainly when there was a proper name (PN) in the item which was translated. Items without PN were almost domesticated. Even if they had been foreignised, the referents for the TT reader would have been ungraspable, mainly due to the cultural and religious differences. These findings will help literary translators to have a better understanding of such plays. Having taken that the translators would stick to the findings of this research, the readers will be able to have an expressive translation of the play rather than an informative piece of translation. Also, the findings can be an aid in both empirical and theoretical studies.
Keywords:Domestication, foreignisation, allusion, style, literary translation