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Palmer, John. "Wichi goodwill : ethnographic allusions." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389785.
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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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Lyons, Brenda. "Textual voyages : platonic allusions in Virginia Woolf's fiction." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310069.
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Derbesy, Philip. "Reading Cinematic Allusions in the Post-1945 American Novel." Case Western Reserve University School of Graduate Studies / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=case158653951934268.
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Harrelson, Jeremiah James. "The miracle narratives in Luke allusions to classical mythology? /." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.
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Spencer, Herbert M. "The use of allusions in Charles Lamb's Essays of Elia." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ52735.pdf.
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Greco, Antonio. "Voices and allusions in Tony Harrison’s 'Selected poems'." Thesis, Lancaster University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423927.
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Bartley, Christina Marie. "Calasiris the Pseudo-Greek Hero: Odyssean Allusions in Heliodorus' Aethiopica." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/41921.
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This thesis seeks to analyze the Homeric allusions in the Aethiopica with an inclusive definition to explore Heliodorus’ authorial motives. To approach this project, I use textual analysis to avoid arguments rooted in assumptions of the historical context of the novel, about which we know almost nothing. I explore how links to Homer’s Odyssey are visible within the structural organization of the text and the content of the text. I also explore how the content of the novel reproduces actions and compatible settings of Odyssean characters, which therefore qualifies Heliodorus’ characters in a metaliterary commentary with Homer’s archaic epic poem. The division of Odyssean actions and traits depicted in Heliodorus’ characters introduce a new addition to the heroic legacy established by Homer and distances the hero from Greek identity. I conclude that Heliodorus’ adherences to epic conventions and departures thereof inform the subtextual commentaries conveyed in the Aethiopica.
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Lee, Myung-Ji. "The Art of Borrowing: Quotations and Allusions in Western Music." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849772/.
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Music travels across the past in the form of composers borrowing from each other. Such musical borrowings and quotations involve not only the use of melodic materials but also musical structures, texts, symbolism and other types of inspiration. The pre-existing musical idea being used is linked to a specific memory of a particular composer and time. The artistic allusions of composers connect the present and the past. Music also travels across the present and into the future. The outcome of contemporary composers borrowing from each other influences the present period and affects later composers' musical inspiration, i.e., it affects future composers, and therefore, the future. Composers frequently refer to melodies or musical idea from contemporaries and reinterpret them in their own compositions. This is largely because composers do not write in isolation and have been inspired and influenced by contemporary musicians and cultural contexts. However, these musical borrowings sometimes raise questions about the composers' creativity and authenticity. This is largely due to the nature of inspiration and imagination, which determines who or what is original. With this in mind, why do composers still borrow musical ideas despite the risks involved? In what ways do they overcome criticism and demonstrate the excellence of their own compositions while referring to the work of others? In what ways do artistic allusions influence new compositions? In this dissertation, I attempt to examine these questions and address the reasons for and the effects of musical quotations and allusions.
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Boldarin, Sara <1989>. "TOPICAL ALLUSIONS ON STAGE. ELIZABETHAN COURTLY SPECTACLES AND THE ANTIMASQUE." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3560.
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This dissertation aims at exploring the origins of the Stuart antimasque in the Elizabethan age. The antimasque is a literary device which firstly appeared with the Jonsonian masques in the 1610s, where it took the form of an episode featuring elements of ‘opposition’ to the main masque. Throughout the years, the form of the antimasque underwent a development, and started being concerned with topical allusions, as shown by the curious line of evolution represented by Hymenaei, Love Restored and Mercury Vindicated, by Ben Jonson.
It is exactly this connection of the antimasque with topical allusions that links the Stuart antimasque with the early ‘antimasque-like’ aspects in the Elizabethan age. This thesis intends to demonstrate that these latter were not to be found in the Elizabethan masks, but they were rather present in some other kind of entertainments performed at court in front of the Queen. The period in which courtly spectacles started containing ‘antimasque-like’ aspects corresponds to the last two decades of the reign of Queen Elizabeth I, when the issue of the succession to the throne was causing deep anxieties in England. The four spectacles this dissertation takes as example of court entertainments containing ‘antimasque-like’ aspects related to the current socio-political situation are The Lady of May, Sappho and Phao, Endymion and Summer’s Last Will and Testament: if, on the one hand, they aim to give a positive image of the Queen, on the other, they also express the anxieties of the age.
This thesis finally demonstrates that this dialectic, which is typical of the antimasque, was not restricted to the Elizabethan courtly spectacles, but there were influences on the public stage, the most significant of which are to be found in A Midsummer Night’s Dream, by William Shakespeare.
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Skakov, Nariman. "Word and image : textual allusions in the cinema of Andrei Tarkovsky." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508669.
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何鳳雯 and Fung-man Ho. "Historical, mythological and literary allusions in LiBai's Gufeng and Yuefu poems." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B40676511.
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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.
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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
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Comelek, Barbara Kay Zumwalt. "Allusions to the vocal art in selected wind instrument pedagogical sources." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/454807.
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The problem addressed by this study was the search for ways to relate knowledge of wind instrument playing methods to the study of voice. The purpose of the study was to examine historical and contemporary brass and woodwind teaching sources to determine whether allusions to the vocal art were documented by reputable wind teachers.The ninety-one available sources were written between 1545 and 1981, and included books, treatises, periodicals, and other studies written by scholars, musicians, and teachers from Europe, Asia, and North America. Allusions to the vocal art appeared in eighty percent of the sources studied and occurred with nearly equal frequency in brass and woodwind sources.The study revealed both direct and indirect allusions made in reference to such matters as the relationship of wind instruments to voice, breathing and breath control, tone production, facility, and musicianship.ConclusionsBased on the finding that numerous allusions to the vocal art have been documented in wind instrument pedagogical sources, the following conclusions are drawn:1. A very close relationship exists between the wind instruments and voice.2. A common body of pedagogical theories may be found in vocal and wind instrument teaching methods.3. These theories have been used by wind pedagogues to teach wind instruments.4. A preparatory background in the study of voice and singing methods provides a desirable foundation for the study of wind instrument playing.5. Many authors, it would appear, assume that the wind instrument student already possesses a functional knowledge of the art of singing.
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Paulien, Jon. "Decoding revelation's trumpets : literary allusions and interpretation of Revelation 8,7-12 /." Berrien Springs (Mich.) : Andrews university press, 1988. http://catalogue.bnf.fr/ark:/12148/cb35694102w.
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Beetham, Christopher A. "Echoes of scripture in the letter of Paul to the Colossians." Theological Research Exchange Network (TREN), 2005. http://www.tren.com/search.cfm?p088-0156.
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Harmon, Matthew S. "She must and shall go free Paul's Isaianic gospel in Galatians /." Theological Research Exchange Network (TREN), 2006. http://www.tren.com/search.cfm?p088-0155.
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Griffith, Joseph K. II. ""That That Nation Might Live" - Lincoln's Biblical Allusions in the Gettysburg Address." Ashland University Honors Theses / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=auhonors1399998979.
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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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Kim, Jin Gyo. "The song of Moses in the book of Revelation : allusions, memories, and identity." Thesis, Stellenbosch : Stellenbosch University, 2011. http://hdl.handle.net/10019.1/17878.
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Thesis (MTh)--Stellenbosch University, 2011.ENGLISH ABSTRACT: This research aims to trace the exodus motif in the book of Revelation in general and Rev. 12-20 in particular, and to examine the socio-rhetorical function of the use of the exodus motif. Our hypothesis is that Rev. 12-20 constitutes a coherent unit in terms of narratology and that the exodus motif plays a significant role in forming the structure and the message of the book of Revelation, specifically of Revelation 12-20. Significantly, the song of Moses and the Lamb in Rev. 15 plays a pivotal role in the development of the thread of the chapter 12-20 as a plot. In the chapter 2, an overview of the history of interpretation of Revelation is provided and also the limitation of current studies of the song of Moses is highlighted. In addition, a new approach to the song of Moses in Revelation is suggested. The main goal of the chapter 3 is to examine Rev. 12-20 according to four narrative elements and from which Rev 12-20 can be deduced as a discrete literary unit constituting a plot. It will be argued that Rev. 12-20, as a plot, is highly stylized in the chiastic structure which has the song of Moses and the Lamb at the centre. Chapter 4 investigates Exod. 1-15 as a coherent story and explains how the author of Revelation adopts the exodus motifs in forming both the theme and the structure of Revelation. Moreover, it will be argued that the exodus motif generated certain sociorhetorical meanings to the audiences or the readers who were assimilated into the Roman Empire. For understanding the socio-rhetorical meanings, we examine the socio-rhetorical context, namely Asia Minor as part of the Roman Empire, and deal with the socio-rhetorical role of the exodus motif in the book of Revelation. In the chapter 5, firstly, drawing on the theoretical assumptions from social psychology, we build up a framework in which we can deal with Rev. 12-20 in terms of identity issues. Then, the covenantal identity based on the covenant in the book of Exodus will be suggested as an alternative identity. Thus, the exodus motif in Rev. 12-20 challenges the assimilated identity of the audiences or the readers to be renewed in the covenantal identity, so that they may be holy apart from the culture and the structure of the Roman Empire. The song of Moses and the Lamb reinforces the covenantal identity.
AFRIKAANSE OPSOMMING: Hierdie navorsing ondersoek die gebruik van die eksodus-motief in Openbaring in die algemeen en in Op 12-12 in die besonder, terwyl dit ook die sosio-retoriese funksie van hierdie motief bestudeer. Die hipotese is dat Op 12-20 in terme van narratologiese analise ‘n koherente eenheid beslaan, en dat die eksodus-motief ‘n betekenisvolle rol speel in die struktuur en boodskap van Openabring, en Op 12-20 in besonder. Verder is dit betekenisvol dat die Lied van Moses en die Lam in Op 15 ‘n kernrol speel in die deurlopende lyn van Op 12-20 as plot. In hoofstuk 2 word ‘n oorsig oor die interpretasiegeskiedenis van Openbaring aangebied en beperkinge ten opsigte van huidige studies oor die Lied van Moses beklemtoon. In aanvulling daarby word ‘n nuwe benadering ten opsigte van die Lied van Moses in Openbaring voorgestel. Die hoofdoel van hoofstuk 3 is om Op 12-20 aan die hand van vier naratiewe elemente te ondersoek. As resultaat kan Op 12-20 as diskrete literêre eenheid sowel as die plot van Openbaring beskou word. As plot vertoon Op 12-20 ‘n noukeurige styl, met chiastiese strukture waarvan die Lied van Moses en die Lam die middelpunt vorm. Hoofstuk 4 ondersoek Eks 1-15 as koherente narratief en verduidelik hoe die outeur van Openbaring die eksodus-motief in die vorming van beide die tema en struktuur van die boek ingespan het. Die eksodus motief sou ook sekere sosio-retoriese betekenisse onder die gehore of lesers wat met die Romeinse Ryk geassimileer was, gegenereer het. Twv die beter verstaan van sulke sosio-retoriese betekenisse, word die sosio-historiese konteks naamlik Klein-Asië as deel van die Romeinse Ryk bestudeer. Vervolgens word die sosio-retoriese rol van die eksodus-motief in die boek van Openbaring behandel. In hoofstuk 5 word eerstens van teoretiese uitgangspunte binne die sosiale sielkunde gebruik te maak vir die konstruering van ‘n raamwerk om identiteitsake in Opn 12-20 te hanteer. Vervolgens word verbondsidentiteit soos dit voortvloei uit die verbond in Eksodus as alternatiewe identiteit voorgestel. Die eksodus motief in Op 12-20 daag die gehore of lesers van die boek uit om hul verbondsidentiteit te hernu, sodat hulle heilig en dus anders as die kultuur en strukture van die Romeinse Ryk kan wees. Die Lied van Moses en die Lam versterk Openbaring se gehore of lesers se verbondsidentiteit.
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January, LaTricia M. "Beyond the Threshold: Allusions to the Òrìsà in Ana Mendieta's Silueta Series." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1391.
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The Cuban-born artist Ana Mendieta (1948-1985) created the Silueta Series during the 1970s and 80s. It consists of earth-body works in situ featuring the silhouette of the artist's body fashioned from mud, plants, rocks, gunpowder and other materials. Underlying the creation of the Silueta Series is Mendieta's belief that the elements are sentient and powerful beings. This perception is particularly strong in the Afro-Cuban religion Santeria, a creolized form of the Òrìsà tradition of the Yoruba of West Africa introduced to the Americas during the trans-Atlantic slave trade. While scholars have noted Mendieta's incorporation of Santeria in her art, a thorough analysis of the iconographical references to the deities have yet to be explored. This thesis aims to provide such an analysis of Mendieta's works; thus enriching the current discourse on the Silueta Series.
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Gericke, Jacobus Wilhelm. "Possible allusions to ancient Near Eastern solar mythology in Qohelet an comprehensive enquiry /." Pretoria : [s.n.], 2002. http://upetd.up.ac.za/thesis/available/etd-04202005-095806/.
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Harman, Fiona. "Real and Imagined Suburbia: using painting to explore allusions to promise and reality." Thesis, Curtin University, 2017. http://hdl.handle.net/20.500.11937/56485.
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For this practice-led research project, I engage with the fields of contemporary landscape painting and architectural theory to reimagine the display home. Using a method of action research, I use the motifs of suburban architecture and the swimming pool to explore overlapping ideas of promise and reality. My paintings combine abstract and figurative techniques that encourage associative freedom tied to notions of sympathy, feeling, and place.
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Lee, Soo Mi. "Princess Shokushi's poetry and its allusions to women's unseen narratives in the Genji Monogatari." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/4174.
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This thesis aims to offer a scholarly approach to the poetics of Princess Shokushi,
one of Japan’s most celebrated and influential female poets of the pre-modem era.
Princess Shokushi is generally regarded as a poet of imagination, mainly because she
wrote a number of passionate love poems despite her lifelong celibacy, imposed on her
by her position as imperial princess. While some scholars conclude that Shokushi’s
poetry came from her mastery of the traditional craft and a vigorous poetic imagination,
others see her poetry as the personal expression of her innermost feelings and life
experiences. Focusing on this controversy over whether or not her poetry is, in fact,
based on real life experiences or merely invented—which some claim she did by
exploiting the poetic conventions of the Japanese male poets of the day—this paper
explores Shokushi’s distinctive poetic expression through her use of the literary
technique called honka-dori, allusive variation. This research pays special attention to
the poems that allude to The Tale ofGenii and reveals how Shokushi’s frequent allusions
to this tale and its characters signal her profound interest in the story beyond the
conventional literary trends of her time. Shokushi often refers to the specific female
characters in her poems—Oigimi, Ukifune, and Lady Murasaki—, abandoned imperial
princesses, whose lack of strong family support leaves them in close confinement deep in
the mountains. By examining Shokushi’s poetry in the contexts of this narrative,
ultimately, this paper will show how, in alluding to these female characters, Shokushi not
only furthers her own image as an isolated imperial princess, but also throws light on
these female characters’ inner sufferings, which are unknown to the male characters with
whom they associate.
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Casimir, Stephen P. 1936. "A critical review of characterization in the fourth Gospel's structure of anonymous disciple allusions /." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79829.
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This investigation is about characterization in the Fourth Gospel as it relates to the "disciple"---the mysterious, anonymous figure that pervades the structure of allusions in this narrative. The question as to who this character is and what s/he does in this gospel text has both attracted and intrigued generations of biblical scholars.The first part of the investigation examines divergent views of premodern, modern and reader-oriented criticism with regard to the "disciple's" identity and function, highlighting the respectively allegorical, historical and reader-oriented understanding of his/her character as proposed by these three critical approaches.
The second part of the investigation re-examines the question with a novel approach. The approach involves a detailed analysis of the structure of allusions. This analysis concludes that the allusions constitute a set of interactive linguistic phenomena which are meant to shed light on the anonymous figure within them. On the basis of this finding, the investigation proposes a new understanding of the structure of allusions and of the question of identity and function that it raises.
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Khordoc, Catherine (Catherine M. ). 1967 Carleton University Dissertation French. "Noms, ballons, allusions: quelques aspects du comique dans la bande dessinee, Asterix le Gaulois." Ottawa.:, 1993.
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Wold, Benjamin G. "Understand a likeness : Genesis creation allusions in Musar le Mevin (4Q415-418, 4Q423, and 1Q26)." Thesis, Durham University, 2004. http://etheses.dur.ac.uk/2837/.
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Musar leMevin (4Q415—418; 423; 1Q26) is a sapiential document from the Qumran library. This previously unknown composition has become the focus of considerable scholarly attention in the last ten years. Among the many observations made on the document is its focus upon aspects of creation. Most notably, the otherwise rare phrase חחת has been considered by some to allude to the order of creation. It has also been observed that a number of significant allusions to Genesis 1-3 occur in the document. For instance, 4Q416 2 iii-iv allude to Genesis 2.20-25 in a female leaving her mother and father. 4Q423 1， 2 і alludes to the Garden of Eden. 4Q416 1 is concerned with cosmology based upon creation. While these and other observations have been discussed to a limited degree, no sustained study has been conducted on allusions to Genesis creation traditions throughout Musar leMevin, This thesis approaches the question of the use of Genesis creation traditions in the following manner. It is hypothesised that an examination of allusions to Genesis 1-3 maybe valuable for interpreting the document. In chapter one, previous research on the document is reviewed and remaining unresolved issues suggested. Among the unresolved issues are a thorough understanding of anthropology and angelology in the document. In chapter two, a methodology is developed for identifying and adjudicating occurrences of allusions. Chapter three, on the basis of criteria set forth in chapter two, identifies nearly twenty allusions to Genesis 1-3 in Musar leMevin. Chapter four is dedicated to exploring anthropology and angelology on the basis of two significant allusions to Genesis 1.26-27 (4Q416 2 ііі 15-18; 4Q417 1 і 15-18) and an exegetical tradition of angelic participation in creation. Chapter five is concerned with addresses about females and directed to a female based upon a cluster of allusions to creation traditions. In conclusion, creation traditions are seen to be formative for wisdom instruction in the document and elucidate (1) angelology and anthropology; and (2) how the phrase תחתח may be better understood.
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Adamson, Katherine. ""A bit of unoriginal sin" : allusions to the Fall in selected novels of Anthony Burgess." Thesis, University of Liverpool, 2010. http://livrepository.liverpool.ac.uk/1439/.
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This thesis investigates a spectrum of literary, theological, and mythological allusions to the Fall of Humanity in a representative selection of novels by Anthony Burgess. Burgess's use of allusion is fundamentally affected by his natal Roman Catholicism, his view of himself as an exile, and his Augustinian vision of the human condition. The study seeks to identify how Burgess applies theological concepts of the Fall and Original Sin as a lens through which to read other myths, and how these allusions to myth are then absorbed and manipulated within his fiction. The central argument is that Burgess employs irony to ridicule valorised, idyllic, or supernatural elements from mythology, epic poetry, and romance in a degraded, yet comic, postlapsarian environment. This thesis will begin by outlining Burgess's preoccupation with Original Sin and the Fall, and argue that the presentation of the postlapsarian state is a core theme throughout his writing. The critic Northrop Frye's discussion of the archetypes and central features of myth, romance and irony – and his focus upon the Bible as the bedrock of western literature – provides an ideal framework to analyse the mythical allusions used throughout Burgess's fiction. Though Frye is the basis of the critical approach in this thesis, Mikhail Bakhtin's essay 'Epic and Novel', from The Dialogic Imagination, is also drawn upon. Each chapter involves close textual reading, paying specific attention to mythological, biblical, and literary allusions to the Fall, underpinned by the theories of Frye and Bakhtin. The first chapter examines allusions to the wilderness in The Malayan Trilogy (1956-9) and The Doctor is Sick (1960). These novels parody the katabasis, or hero's descent into the underworld, in order to dramatise the destruction of the modern individual in the face of greater forces of disorder. The second chapter considers A Vision of Battlements (1965) and Any Old Iron (1989), investigating the connection between the descent into a temporal world and the onset of warfare and violence in human society. The third chapter turns to Tremor of Intent (1966) and MF (1971), and argues that these novels present a battle between individuals who acknowledge their Original Sin, opposing sterile, solipsistic, and tyrannical forces. The fourth chapter explores the conflict in Earthly Powers (1980) between the heretical notion that evil stems solely from the devil, and the opposing Augustinian vision of evil at the core of human civilisation. Finally, an analysis of A Clockwork Orange (1962) and The Wanting Seed (1962) proposes that the novel form best expresses the capacity of fallen humans to choose and change in a mutable world. The present study aims to demonstrate that Burgess uses allusion to clarify the nature of the Fall to the modern reader. I conclude that Burgess does not yearn for a lost Eden or Golden Age in his fiction, but instead celebrates the postlapsarian state as an authentic human vision. I eschew a socio-political or biographical approach to Burgess's writing, offering an alternate way of interpreting his novels through close textual analysis of mythological, biblical, and literary references.
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Baez, Enrique. "Allusions to Genesis 11|1--9 in the book of Daniel an exegetical and intertextual study." Thesis, Andrews University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3590707.
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The purpose of this dissertation is to examine the allusions to Gen 11:1-9 in the book of Daniel, and to demonstrate on exegetical and intertextual grounds the references and allusions to Gen 11:1-9 in the book of Daniel and the theological implications of those connections. After reviewing the different kinds of intertextuality and the methodology used by Old Testament scholars in the area of literary allusions (chap. 1), this dissertation investigates the allusions to Gen 11 in both the historical (chap. 2) and the visionary sections (chap. 3) of the book of Daniel. All the allusions to Gen 11 in the book of Daniel are discussed and given an assessment of either "certain allusions," "possible allusions," "uncertain allusions," and "nonallusions."
Furthermore, this study outlines the contribution of the allusions to Gen 11 to the theology of the book of Daniel (chap. 4) and specifically relates the Babel motif to the themes of the kingdom of God, judgment and the Israelite worship institution, the Temple.
Finally, a summary and conclusions (chap. 5) gather and present the various findings and insights gained from this research. Based on the evidence submitted in this dissertation it is concluded that the allusions to Gen 11 play a dominant role in the whole book of Daniel. It is further shown that the allusions to Gen 11 make a prominent contribution to the main theological themes in Daniel and cannot be ignored by the careful exegete.
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Kynes, William Joseph. "My psalm has turned into weeping : the dialogical intertextuality of allusions to the Psalms in Job." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609884.
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Vänni, R. (Riikka). "The translation of cultural references and proper-name allusions in the Finnish subtitles of Gilmore Girls." Master's thesis, University of Oulu, 2017. http://urn.fi/URN:NBN:fi:oulu-201712213398.
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This study deals with the translation of cultural references and proper-name allusions from English to Finnish in the DVD-subtitles of Gilmore Girls. Its most important aim is to examine what types of methods have been used to translate the culture-bound items found in the so-called Gilmore-isms or, what type of relationship does the target text have with the source text and whether the translations are more foreignising or domesticating. In addition to this, the study examines the type of influence the needs of the receiver and the audiovisual format and the relationship between the source and the target culture have on translation and in which ways translation is associated with cultural and social power structures in society. The research questions are approached with the help of Translation Studies. A methodological basis has been sought especially from the research on allusions by Leppihalme and the methods of foreignisation and domestication by Venuti. In addition to this, the analysis draws from Reception Theory and the Study of Audiovisual Translation. 9 episodes from the 4th season of Gilmore Girls were analysed. There were 62 Gilmore-isms and 80 cultural references to music, films, television programmes, fictional characters, politicians and famous people found in the study material. Based on this study and earlier research, it can be claimed that culture-bound items are usually translated with foreignising methods when translating from English to Finnish in television series. This is believed to have to do with the socio-economic power of Anglophone countries, especially the United States, over marginal ones. Finnish viewers are also used to English expressions and the culture of Anglophone countries and, therefore, the use of U.S. American cultural references does not form a problem for the receiver. The audiovisual format has not affected the chosen translation methods as much as had been anticipated, thus space has not been a particularly significant factor for the translators which can also be seen in the translation methods chosenTässä tutkielmassa käsitellään kulttuuriviittausten sekä erisnimi-alluusioiden kääntämistä englannista suomeksi Gilmoren tyttöjen DVD-tekstityksissä. Sen perimmäisenä tarkoituksena on selvittää, millaisin metodein niin kutsutuista Gilmore-ismeista löydetyt kulttuurisidonnaiset viittaukset on käännetty, eli millainen suhde lähdetekstillä on kohdetekstiin ja ovatko käännökset kotouttavia vai vieraannuttavia. Lisäksi tutkielmassa selvitetään vastaanottajan tarpeiden ja audiovisuaalisen formaatin sekä lähde- ja kohdekulttuurin välisen suhteen vaikutusta käännöksiin ja millä tavoin kääntäminen liittyy yhteiskunnassa vallitseviin kulttuurisiin ja sosiaalisiin valtarakenteisiin. Tutkimuskysymyksiä lähestytään kääntämistutkimuksen keinoin. Metodista teoriapohjaa on haettu erityisesti Leppihalmeen alluusioiden tutkimuksesta, sekä Venutin kotouttamisen ja vieraannuttamisen strategioista. Tämän lisäksi analyysiosio ammentaa tietoa vastaanottotutkimuksesta, sekä audiovisuaalisen kääntämisen tutkimuksesta. Tutkimuksessa analysoitiin 9 Gilmoren tyttöjen jaksoa 4. tuotantokaudelta. Musiikkiin, elokuviin, televisio-ohjelmiin, fiktiivisiin hahmoihin, poliitikoihin sekä kuuluisuuksiin liittyviä Gilmore-ismeja löydettiin tutkimusmateriaalista 62 kappaletta ja niistä kulttuurisidonnaisia viittauksia 80 kappaletta. Tämän sekä aiempien tutkimusten perusteella voidaan väittää, että kulttuurisidonnaiset viittaukset käännetään useimmiten vieraannuttavasti silloin, kun käännetään englannista suomeksi televisiosarjoissa. Tämän uskotaan liittyvän englanninkielisten maiden, erityisesti Yhdysvaltojen omaamaan sosio-ekonomiseen valta-asemaan. Suomalaiset katsojat ovat myös tottuneet englanninkielisiin ilmaisuihin ja englanninkielisten maiden kulttuuriin, joten yhdysvaltalaisten kulttuuriviittausten käyttö sellaisenaan ei muodostu ongelmaksi katsojalle. Audiovisuaalinen formaatti ei ole vaikuttanut valittuihin käännösmetodeihin niin paljon kuin odotettiin, eli tila ei ole muodostunut merkittäväksi tekijäksi kääntäjille, mikä näkyy myös valituissa käännösmetodeissa
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Dovenna, Eleonora <1991>. "Femininity and Restoration Tragedies: the Use of Female Characters for Political Allusions under Charles II's Reign." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14629.
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The aim of this study is to investigate the agency of poignant female characters in Restoration tragedies in relation to specific political and social concerns of the period. The research analyses seven different works in which female agency – or the lack thereof – is pivotal: The Rival Queens and Lucius Junius Brutus by Nathaniel Lee, The Empress of Morocco and Love and Revenge by Elkanah Settle, Abdelazer or the Moor's Revenge by Aphra Behn, The Libertine by Thomas Shadwell and Lucina’s Rape or The Tragedy of Valentinian written by John Wilmot Earl of Rochester. Despite being different in many respects, these five playwrights were able to subvert previous established and popular genres – namely heroic drama and tragicomedy – and made unique use of femininity to render powerful and lasting representations of those fears and anxieties that were permeating England under Charles II's reign. Since all seven plays question masculine authority and monarchical power employing extreme visual representations of violence perpetrated by degenerated women or at the expenses of virtuous females, this study looks at how these brutal and unsettling plays offered the audience a cathartic yet profoundly nihilistic experience whilst undermining the foundations of kingship.
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Cofer, Jordan Ray. "The Theology of Flannery O'Connor: Biblical Recapitulations in the Fiction of Flannery O'Connor." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/31790.
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This thesis examines the way Flannery Oâ Connorâ s stories draw upon and transfigure various biblical texts. With sometimes shocking freedom, she twists open the original stories or references, reworking and redistributing their basic elements. Often reversing the polarity of the original stories, Oâ Connorâ s stories dramatize elements of biblical texts coming alive in different times and social settings and with quite different outcomes. At the same time, her stories still address many of the same issues as the biblical texts she transforms.
This study focuses on three Oâ Connor stories: â A Good Man is Hard to Find,â which reworks the story of the rich young ruler in Matthew 19, Mark 10, and Luke 18; â Parkerâ s Back,â which transforms elements of Mosesâ encounter with the burning bush in Exodus juxtaposed with Saulâ s conversion experience in Acts 9; and â Judgment Day,â which interacts with portions of Paulâ s descriptions of the resurrection of the dead in 1 Corinthians 15. This study draws upon the work of theologically-oriented Oâ Connor scholars, as well as Oâ Connorâ s own letters and essays. I hope, through this approach, to open up a new way of responding to Oâ Connorâ s biblical echoes.Master of Arts
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Mather, Lucas James. "Allusions to Isaiah in Luke's birth narratives and their programmatic function for the rest of his gospel." Theological Research Exchange Network (TREN), 2003. http://www.tren.com.
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Mather, Lucas J. "Allusions to Isaiah in Luke's birth narratives and their programmatic function for the rest of his gospel." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.
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Wold, Benjamin G. "Women, men, and angels : the Qumran wisdom document "Musar leMevin" and its allusions to Genesis creation traditions /." Tübingen : Mohr Siebeck, 2005. http://catalogue.bnf.fr/ark:/12148/cb400891237.
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Morey, Michael J. "Allusions and Borrowings in Selected Works by Christopher Rouse: Interpreting Manner, Meaning, and Motive through a Narratological Lens." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505169/.
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Christopher Rouse (b. 1949), winner of the Pulitzer Prize for his Trombone Concerto (1993) and a Grammy award for his Concerto de Gaudi (1999), has come to the forefront as one of America's most prominent orchestral composers. Several of Rouse's works feature quotations of and strong allusions to other composers' works that are used both rhetorically and structurally. These borrowings range from a variety of different genres and styles of works, from Claudio Monteverdi's L'incoronazione di Poppea to Jay Ferguson's "Thunder Island." Due to the more accessible filtering and funneling methods of musical borrowings (proliferation of mass media), the weighty discourses attached to them, and their variety of functions (critiquing canons, engaging in an allusive tradition, etc.), quotation has become elevated to the most prominent of musical actors that trigger narrative listening strategies, which in turn have a stronger role in the formation of narratives about music as well as narratives of music. The primary aim of this study is to adapt and apply more recent methodological narrativity frameworks to selected instrumental compositions by Rouse containing quotations, suggesting that their manner of insertion, their method of disclosure, and their referential potential can benefit from being examined through various narrative lenses as well as reveal their participation in certain roles of narrative functions. For this study, I have chosen six instrumental works by Rouse for examination - the Violoncello Concerto, Symphony No. 1, Iscariot, String Quartet No. 2, Seeing, and Thunderstuck. On a more specific level, the aim of this study is to investigate the manner, meaning, and motive of the quoted material in a select group of Rouse's compositions through various narratological lenses. To accomplish this, I intend 1) to establish a context for understanding the musical borrowing procedures of Rouse; 2) to explore how works containing quotations can be examined through various narrativity frameworks; 3) to inspect the ways in which borrowings can enhance or clarify the structural design and stylistic musical features for which he is known; 4) to investigate the various meanings that are generated from his borrowings; 5) to consider the extent to which Rouse's musical borrowings comment on various discourses, and 6) to examine the psychological needs of certain narratives triggered by quotation and the various questions they pose. This study does not attempt to systematically unify the works of Rouse that contain borrowings under a kind of "grand theory" in narrativity or borrowing studies, but rather to examine each work individually, noting the particular roles that borrowings play in regards to narratives of and about music. Fundamentally, I claim that narrativizing about music is a foundational psychological and social impulse, aiding to serve our curiosities about music's otherness qualities. Using both narratives of and about music to frame analyses, I hope to make a small contribution to the growing methodological frameworks of narrativity by featuring works containing borrowings by one individual composer, suggesting that other comprehensive approaches in borrowing studies can used for future composers.
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Lauzon, Autumn Rhea. "Bringing Lippard Back: Biblical Allusions, Narrative Structure, and the Treatment of Women in George Lippard's The Quaker City." Thesis, Virginia Tech, 2010. http://hdl.handle.net/10919/76777.
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George Lippard, a name scarcely recognized in today's American literature classrooms, was the author of the most popular American novel prior to the publication of Uncle Tom's Cabin in 1852 - The Quaker City; or, the Monks of Monk Hall. Despite producing such a popular and risqué novel, Lippard and his work have been curiously absent from the American literary and historical canon. In this paper I have chosen to focus on three aspects of the novel that I believe to be important for analysis - Biblical parallels, narrative structure, and female characters. Lippard uses the narrative structure and plot to incite curiosity in his readers and to appeal to audiences' instincts of sexual curiosity, pleasure in revenge, and the punishment of "evil." I will explain how Lippard uses two of the themes to reflect major issues of the time period and one as a metaphor for the plot of the novel.Master of Arts
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Howard, James M. "Old Testament allusions and concepts underlying the use of 'full of grace and truth' in John 1:14." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
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Labadie, Elisabeth. "L'implicite dans l'oeuvre de E. M. Forster : du texte à l'écran." Paris 3, 1998. http://www.theses.fr/1998PA030187.
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E. M. Forster a de toute evidence, par un style tres particulier, a la fois descriptif, image, mais aussi porteur d'implicite et de non-dit, stimule l'imagination des cineastes. Cinq de ses six romans ont ete portes a l'ecran, dont a passage to india par david lean, a room with a view, maurice et howards end par james ivory. Les realisateurs, comme tout lecteur, sont appeles a combler les interstices presents dans le recit de l'ecrivain : ils prolongent l'uvre initiale, completent le texte, lui donnent une interpretation deliberee. La narration cinematographique amene necessairement a une autre organisation du recit. De plus, elle est contrainte d'expliciter certains elements tenus sous silence. Inversement des contenus clairement formules par forster semblent disparaitre a l'ecran. L'etude des analogies permet alors de constater que le cinema les exprime cependant, mais de maniere beaucoup plus implicite : angles de prises de vue, cadrages, eclairages, montage, accessoires, commentaires musicaux et silences viennent completer de leurs nombreux messages indirects ce que le jeu des acteurs et leur tenue vestimentaire suggerent par ailleurs. Le recit filmique, en revelant certains aspects du roman qui etaient dans l'ombre et en verifiant des hypotheses suggerees par le narrateur, complete l'uvre de l'ecrivain, meme s'il en occulte d'autres contenus : films et romans s'eclairent reciproquement et soulignent l'existence de ces codes culturels qui evoluent imperceptiblement d'une epoque a l'autre et permettent au lecteur/spectateur de decoder les messages implicitesE. M. Forster has no doubt stimulated filmmakers' imagination thanks to his very particular style, both descriptive and colourful, full of contents which are implicit or left unsaid. Five out of the novelist's six novels have been brought to the screen, amongst which a passage to india by david lean, a room with a view, maurice and howards end by james ivory. Like any reader, filmdirectors will fill the gaps of the writer's narrative : they extend the initial work, add to the text and give it their particular interpretation. Film must lead to a new organization of the story. Moreover it has to clarify some elements which have been left unsaid. But on the other hand some of the contents clearly expressed by forster seem to disappear on the screen. Studying analogies then reveals that cinema does express these contents but in a much more implicit way : shooting angles, framing, lighting, editing, props, musical comments and silence work as indirect messages and complete what acting and costumes otherwise suggest. Film narrative brings to light some aspects of the novel which have been kept in the shade. It checks some of the hypotheses which the narrator has suggested. Although it hides some of its contents it adds to the writer's work. Films and novels shed light on each other while underlining the existence of those cultural codes which surreptitiously change from one age to another and allow us to understand implicit messages
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Seo, Joanne Mira. "Allusive characterization from Apollonius to Statius." [S.l. : s.n.], 2004. http://catalog.hathitrust.org/api/volumes/oclc/174205418.html.
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Guessoum, Zeineb. "L'intertextualité comme source de création littéraire : essai sur le roman arabe contemporain." Thesis, Bordeaux 3, 2016. http://www.theses.fr/2016BOR30023.
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Dans le champ de la création littéraire arabe contemporaine, la thématique de l’intertextualité comme source de création littéraire touchant le domaine du roman trouve une double origine. D’une part, l’étude des grands romanciers arabes contemporains montre que ces derniers reprennent les récits antérieurs de caractère essentiellement épique, historique et religieux, pour les reproduire dans un style et un contexte romanesque qui leur sont propres, sans pour autant s’éloigner du thème original. D’autre part, la question de l’intertextualité comme source de création littéraire trouve son fondement dans le rôle dévolu à la mémoire et au savoir. Afin de saisir la manière dont ces deux sources sont utilisées, nous allons tenter d’aborder ces questions en analysant les études universitaires et les critiques littéraires actuelles afin de constituer ainsi une argumentation objective. Partant de là, pour cerner la question de l’intertextualité comme source de création littéraire dans le roman arabe contemporain, nous structurerons notre travail en trois parties. La première aura pour titre : « Citations et Références » - ces deux termes posant, par leur juxtaposition, la question de la relation entre la citation intertextuelle et le lecteur. La seconde partie sera intitulée « Allusions et Evocations » - ce couple de termes posant la question de la relation entre l’intertextualité et la mémoire (historique, culturelle) contenue dans la littérature. Enfin, la troisième partie aura pour titre « Reprises et Remaniements » - ces deux termes posant la question de la reprise textuelle et de la relation de dérivation existant entre les textes. Au terme de chaque partie, nous proposerons un récapitulatif des principaux points abordés, en exposant des arguments visant à expliquer l’intérêt de l’intertextualité dans le processus de renouvellement de la création romanesque arabe contemporaineIn the field of contemporary Arabic literature, the theme of intertextuality as the source of novelistic literary creation possesses a double origin. On the one hand, the study of major contemporary Arabic novelists shows that they make use of prior narratives of essentially epic, historical and religious character, reproducing them in a romantic style and context that is entirely their own, but without departing from the original theme. On the other, intertextuality as the source of literary creation takes for its foundation the role played by memory and knowledge. In order to grasp the way in which these two sources are used and why, we are going to approach the question by analyzing university studies and current literary criticism on the subject, thereby constructing an objective argument. Then we will structure our work in three parts. The first will be entitled: “Quotations and References”, a juxtaposition posing the question of the relationship between the intertextual quotation and the reader. The second part will be entitled: “Allusions and Evocations”. This pair of terms will be concerned with the relationship between intertextuality and memory (both historical and cultural), which is contained in the literature. Finally, the third part will be called: “Resumptions and Reorganisations” – these two terms raising the question of textual resumption and the divergent relationship existing between texts
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Laryea, Fredline. "La traduction de l'humour et de l'esprit anglais dans le roman et le théâtre depuis le XVIIIe siècle à aujourd'hui : observations, méthodologies et enjeux culturels." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030178.
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L'humour culturel anglais est culturel par ses références, les opinions qu'il véhicule et une certaine organisation syntaxique, entre autres. Mais cet humour est surtout culturel car il est ancré dans le contexte anglais et dans la langue anglaise. Une fois traduit, il doit exister dans et à travers la langue-culture cible. À cause de leurs programmes mentaux et de leur conditionnement culturel différents, les lecteurs et les spectateurs français ne pourront pas apprécier l'humour anglais de la même manière que les lecteurs et les spectateurs anglais. Lors de la traduction, le traducteur essaiera souvent de rendre cet humour étranger plus accessible au public français. Ses décisions auront un impact sur les faces sources de l'œuvre, mais aussi sur les faces étrangères que le public français pourra percevoir. En se focalisant sur les allusions culturelles, cette recherche analyse des exemples de textes anglais afin d'observer la différence des effets des textes sources et des traductions sur les deux publics respectifs et de voir si on peut encore parler d'humour culturel anglais une fois qu'il est traduit en français. Les analyses des textes permettront aussi de voir comment la traduction peut affecter la représentation de l'identité culturelle et l'idée que le lecteur ou le spectateur cible se fait de la face de l'étranger. En saisissant l'humour d'un peuple, on peut commencer à le comprendre. Pour cela, la différence de l'humour culturel doit être perçue comme une clé qui permettra au lecteur et au spectateur cible d'établir un rapport dialectique avec l'humour étranger, plutôt que comme une dimension de l'humour de l'Autre qui sera toujours considérée comme un obstacle à surmonterEnglish cultural humour is cultural, not only because of the references and opinions it channels or because of its syntax but especially because it is deeply rooted in the British cultural context as well as in the English language. Once it is translated into French, it has to exist in and through French. Due to their different mental programs and cultural conditioning, French readers and spectators will not react to British humour in the same way as British people. This is why translators will often try to make the humour more easily accessible for the French public in translated texts. His decisions will have an impact on the faces of the source language, but they will also affect the British faces the French reader has access to. This research has focused on cultural allusions in an analysis of examples from British texts to see the differing effects each text has on its readers and to see if one can talk about British cultural humour once it is translated into French. The analyses will also make it possible to see how translation can affect the representation of cultural identity and the impression the target text reader will have of the foreign text. If one can understand a nationřs humour, one can start to understand its people. In order to do that, the difference of foreign humour should be seen as a key that can allow the foreign text reader and spectator to establish a dialectical relationship with the foreign humour, rather than as an aspect of Otherness which always has to be overcome
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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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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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Tucker, Carlton S. "The Choral Works of Robert Ward: A View of His Compositional Approach to Text Settings and His Use of Symbols and Allusions." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3604.
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McLaughlin, John L. "The marz§-ea¦.h in the prophetic literature, an examination of the references and possible allusions in light of the extra-biblical evidence." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0012/NQ36597.pdf.
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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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Ahmed, Waleed Fouad Sayed [Verfasser], Sebastian [Akademischer Betreuer] Günther, and Jens [Akademischer Betreuer] Scheiner. "The Qurʾānic Narratives Through the Lens of Intertextual Allusions: A Literary Approach / Waleed Fouad Sayed Ahmed. Gutachter: Sebastian Günther ; Jens Scheiner. Betreuer: Sebastian Günther." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2015. http://d-nb.info/1071713523/34.
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Ho, Fung-man. "Historical, mythological and literary allusions in Li Bai's Gufeng and Yuefu poems Li Bai gu feng ji yue fu shi dian gu tan jiu /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B40676511.
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