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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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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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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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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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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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Boiko, Olha. "CULTURAL ALLUSIONS IN TEXT CREATION OF UKRAINIAN AND RUSSIAN FANTASY." Odessa National University Herald. Series: Philology 26, no. 2(24) (July 22, 2022): 17–29. http://dx.doi.org/10.18524/2307-8332.2021.2(24).251833.
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The article is devoted to the analysis of allusion as an element of intertextuality, which plays an important role in the text - making of Russian and Ukrainian fantasy texts. Scientific investigations are analyzed, in which there are definitions of allusion as a stylistic figure and stylistic reception, hint and indirect reference. The origin of allusion as borrowing of a pretext, and also its semantic-compositional role in expression of constructive intertextuality (according to N. Fateeva) is characterized. It is determined that allusions, according to A. Tyutenko, work to increase the content. The own definition of the concept of allusion as a dual (verbal-non-verbal) means of actualizing the cultural and historical memory of the reader is proposed. The duality of allusion is that it can be intertextual or intermedia, with reference to the fine and audiovisual arts (including cinema, opera, ballet), music, and so on. The cognitive-suggestive function of allusion is important. In addition, the question of distinguishing between the concepts of "precedent phenomenon" and "allusion" arises. In our study, allusions may contain precedent phenomena - names, names, situations, etc .; but allusion is a broader concept because it is a hint, and a hint does not necessarily contain specific onyms. On the other hand, the precedent phenomenon is not always an allusion in the literal sense of the word, it can be a quotation or just a reference to a well-known fact, such as dictionary definitions. Allusion as an intertextual element appears on the verge of combining two contexts - the source, from which the author chooses the element he needs, and the new, newly created. Very often allusive vocations work as analogies, comparisons of the new and the well-known. However, the vast majority of allusions used in fantasy are built on the use of precedent phenomena - universal-precedent or national-precedent. Culturological (religious, mythological, fairy-tale) allusions were analyzed on the basis of a total of 570 fragments (17% of the total number of intertextual elements selected from the source base (3341.)). in the table, exceeds 570 due to the fact that certain varieties overlap: artionyms can be a variety of fairy tales and a variety of literary, intermedia, as well as anthroponyms, poetonyms, etc. We did not distinguish between attributed and non-attributed allusions, the reason is small the number of attributed allusions in fantasy works. Examples from the works of Volodymyr Arenev, Darya Korniy, Niki Kallen, Max Frei and other Ukrainian-speaking and Russian-speaking writers are given. We came to the conclusion that mythological references are convenient to divide by cultural source: Aztec, East (Tibet), Greek culture, Egypt, China, Scandinavian mythology and Slavic. It should be noted that references to Slavic mythology are the most common in Ukrainian fantasy, while in Russian they are almost non-existent. Religious allusions are more part of the recipient's permanent intertextual field, which allows for the creation of intertextual connections with the religious context (sacred texts, material artifacts), as well as to enrich the arsenal of magical elements in fantasy discourse. Folklore allusions are part of a group of ideological allusions - folklore vocations to folk art reflect the people's ideas about the world around them, so they contain mythonyms, theonyms, etc., and are closely related to magical discourse through the involvement of mythonyms, theonyms, names to denote chimerical creatures and other signs of the fantastic.
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Гаврилюк, Надія. "TYPES OF ALLUSIONS IN BOHDAN TOMENCHUK’S POETRY ABOUT THE WAR." Слово і Час, no. 3 (June 30, 2024): 36–51. http://dx.doi.org/10.33608/0236-1477.2024.03.36-51.
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The paper examines allusions in Bohdan Tomenchuk’s poetry collection “Embroider, Mother, a bulletproof vest.” The various types of allusions are grouped based on their functions (activation of historical memory, adherence to literary tradition, text-structuring), themes (historical, mythological), and typology (ranging from nominal and quotation-type to associative). An attempt was made to differentiate the concept of allusion from quotation and reminiscence, while also juxtaposing it with intertext and intertextuality for comparison. In the poet’s texts about the modern Russian-Ukrainian war, the references to literary works are accompanied by numerous allusions to historical reality. These are references of the nominal type (topographical or proper names connected with certain historical events in the reader's mind). The author's distinctive approach involves overlapping different types of allusions, namely those of historical and literary nature, as well as historical and mythological. Behind a direct allusion, an associative one may emerge, linking to a text from a different time period through shared words, phrases, or thematic aura. The involvement of allusion in Tomenchuk’s poetry often occurs on the basis of the allegation (the new text ‘absorbs’ the previous one, without entering into a controversy with the original text). In this case, we deal with intertext (a text within a text). When an allusion entering a new text gets engaged in a dialogue with the original text, we deal with intertextuality as a process of textual interaction. By involving an allusion, the author makes it an element of the structure that serves as an impetus for the reader to navigate within a receptive context, searching among known texts relevant for interpreting the allusion while disregarding distant ones. Intertextuality engages cognition here. Sometimes allusion is not just an element of a structure but a structural principle, and it is proper to name it a structuring allusion. Various allusions in B. Tomenchuk’s poetry make it possible to fit the widest range of emotions and thoughts in a small textual space, to integrate the new experience of war into a broad historical and literary canvas with a biblical and mythological background.
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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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Krivulya, Natalia G. "Allusion as an element of intertextuality in animated films." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 3 (2022): 137–60. http://dx.doi.org/10.35852/2588-0144-2022-3-137-160.
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Different types of allusions are actively used in the contemporary animation. The research is devoted to the study of both forms and types of literary allusions used in animation, to identify the specifics of their use and the functions performed. Allusions to literary works used in animation can be implicit or explicit. They create an aspect of intertextuality that makes it possible to comprehend the plot both as a complex, multifaceted text and as an ironic, parodic game of the filmmakers with the audience. Literary allusions in the structure of an animated film not only form the subtext, but perform various functions, including plot-forming, evaluative and characterizing, comic. A screen work with literary allusions, representing a multidimensional structure, cannot belong exclusively to an elite or mass type of art. Against the background of the growing role of allusive techniques usage in modern animation, the use of literary allusions is not so common compared to other types of allusions. This is due to the fact that deciphering a literary allusion requires the viewer to have a certain cultural background, in other words, erudition. Since the reading level of the modern viewer is falling, the complexity of literary allusions used in films is also simplified. Structure-forming literary allusions are not oftenly used in animation, while allusions of a fragmentary and deconstructed type, reduced to a recognizable or replicated literary phrase, become the most commonly used stylistic device. The artistic practice of animation shows that using literary allusion and the techniques of postmodernist poetics help to create different types of films. Ones that will be easily perceived not only by a person who is well acquainted with literature and art, but also by a simple, inexperienced viewer. And another type a work of mass culture, which includes mainstream animation, interesting for a literate viewer, who is able to catch the hidden meanings and intertextual dialogue with the texts of art and culture. The including of literary allusions to the structure of the artistic image of the film contributes to the creation of a parody-game effect and opens up the possibility for numerous interpretations.
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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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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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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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Johnson, Lee. "THE ‘HAUNTED’ SHOSTAKOVICH AND THE CO-PRESENCE OF BACH." Tempo 63, no. 249 (July 2009): 41–50. http://dx.doi.org/10.1017/s0040298209000254.
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My theoretical purpose is to distinguish between musical allusions and musical co-presences. A musical allusion is usually a citation of a melody or phrase from a work by a predecessor. In Shostakovich's Fifteenth Symphony, for example, references to Rossini's William Tell and to Wagner's Ring have tantalized listeners and provoked speculation on what these allusions could mean. In general, Shostakovich's music is notable for containing numerous allusions, often ironic, to previous composers. By contrast, Shostakovich's 24 Preludes and Fugues and the Eighth String Quartet show more than mere allusions to Bach: the very methods and forms of the Baroque master are incorporated into the later composer's works, as if Bach were a co-creator with Shostakovich; and those methods and forms are not employed ironically. That is to say, the music of Bach has a special significance for Shostakovich, a presence that goes beyond any topical value.
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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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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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Yumrukuz, Anastasiia, and Juliana Irkhina. "RENDERING LINGUISTIC AND CULTURAL REALIA IN UKRAINIAN TRANSLATION OF ENGLISH ALLUSIONS." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 2022, no. 34 (July 2022): 130–41. http://dx.doi.org/10.24195/2616-5317-2022-34-11.
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The paper is focused on the study of linguistic means of rendering lingual and cultural realia conveyed by allusions in English political speeches and their Ukrainian translation. It is argued that allusions are among those linguistic means which not only provide the factual information, but also carry nationallymarked load. The authors maintain that despite the presence of some fundamental studies devoted to structural and semantic aspects of allusions, the ways of preserving and reflecting certain lingual and cultural information in the Ukrainian translations of English texts, the issue of rendering this information conveyed by allusions in the texts of English (American) political speeches has not been sufficiently investigated. Thus, the aforementioned justifies the urgent character of the given research. The work aimed at determining the tactics and linguistic means of representing lingual and cultural realia in the texts of English inaugural speeches and their Ukrainian translations. The conducted study revealed that allusions in the analyzed texts render lingual and cultural information alluding to both textual and non-textual referents. The textual referents are represented by one’s own previous speeches, speeches of other politicians, biblical texts, folklore works, texts of state documents etc.; non-textual referents are the names of historical events, historical buildings, geographical features etc. The difficulty in preserving the lingual and cultural information in the translation can be justified by several factors, such as difficulties with identifying allusions in the text in case of non-nominated allusions as well as selection of the appropriate tactics of translation. The analysis proved that the linguistic and cultural information contained in allusions is mostly preserved in Ukrainian translations of the corresponding English-language texts of political speeches. Herewith, the kind of translation tactics and techniques depend on the type of the allusion — direct allusions are most commonly translated with the employment of transcription, transliteration, translation loans; indirect allusions — by means of contextual substitution, transposition, extension and omission.
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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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Alkafaji (Ph.D.), Assist Prof Saad Najim, and Othman Abdullah Marzoog. "The Use of Allusions in T. S. Eliot’s The Waste Land." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 224, no. 1 (October 24, 2018): 67–88. http://dx.doi.org/10.36473/ujhss.v224i1.249.
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The research summarizes the use of allusions and tries to reveal the hidden meanings and reasons behind their use. It starts with T. S. Eliot’s frame of mind, through an example of advice to a follower. Moreover, it traces the development of his mind along his life. The following part is Eliot and his respect to tradition then how he stands on the shoulders of old writers to produce new ideas. Also myth and Eliot’s use of it in his poetry to represent, compare, contrast, and reconcile the past with the present. In the depth of the research stand allusions and their use in the “Waste Land”; the bits of the broken culture. The allusions divided into classical, biblical and literary according to the type of the reference of the allusion. In the end the conclusion gathers the findings of the reseach.
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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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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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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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Ibrahim, Hanaa, Amany Youssef, and Nahla Surour. "Allusion: A Functional Evaluation of Peter Theroux’s Translation Dongola: A Novel of Nubia with Reference to Idris Ali’s Original Novel Dunqulah: Riwayah Nubiyah." British Journal of Translation, Linguistics and Literature 3, no. 4 (December 30, 2023): 83–109. http://dx.doi.org/10.54848/bjtll.v3i4.73.
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This study addresses the translation of allusion in Arabic into English from a qualitative functional perspective. The purpose of the study is to evaluate the functional adequacy of Peter Theroux’s English translation of the allusions employed by Idris Ali in his Arabic novel Dunqulah: Riwayah Nubiyah (1993), via implementing Nord’s functional model of translation-oriented text analysis (1991). The study entails two initial hypotheses. First, Theroux, as a non-native speaker of Arabic, would encounter linguistic, cultural, and pragmatic translation difficulties. Second, the anticipated translation difficulties are expected to affect the functional adequacy of Theroux’s translation of allusion into English. The findings indicate that: Peter Theroux, as an American translator whose mother tongue is English, encountered linguistic, cultural, and pragmatic translation difficulties, which affected, to varying degrees, the functional adequacy of his English translation of allusion. Additionally, Theroux’s rendering of the allusions using the literal sub-strategy into English has negatively affected their functional adequacy due to the linguistic and cultural gaps between the two languages. The study concludes that adopting the literal sub-strategy has led to a functionally inadequate English translation of the Arabic allusions. Furthermore, Nord’s model (1991) would be a useful top-down problem-solving tool for translation between linguistically and culturally distant languages as it would aid the translator in identifying the anticipated linguistic, cultural, and pragmatic divergences between the languages. The produced translation would be based on a problem-solution process conducted by the translator rather than a discursive method of translation.
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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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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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Cheung, King-Kok. "Slanted Allusions." Amerasia Journal 37, no. 1 (January 2011): 44–58. http://dx.doi.org/10.17953/amer.37.1.0243011356035174.
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ROE, NICHOLAS. "AMBIVALENT ALLUSIONS." Essays in Criticism XLIII, no. 4 (1993): 334–40. http://dx.doi.org/10.1093/eic/xliii.4.334.
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Leppihalme, Ritva. "Translating Allusions." Target. International Journal of Translation Studies 6, no. 2 (January 1, 1994): 177–93. http://dx.doi.org/10.1075/target.6.2.04lep.
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Abstract This paper presents a systematization of translation strategies for key-phrase allusions, in the form of a hierarchical decision process. Actual translatorial practice in Finland, judging by seven translations of novels, favours the strategy of minimum change. This low-effort strategy is useful when allusions are transcultural, but will often lead to flat translations and loss of connotations in the case of unfamiliar allusions, even resulting in a failure to convey the message, as evidenced by reader responses. Adoption of a more creative and reader-oriented translatorial role would offer a wider variety of translation strategies and lead to a decrease of "culture bumps" in translations.
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Kudiņš, Jānis. "Folk music quotations and allusions in Latvian composers' neo-romantic symphonic music in the last decades of the 20th century and early 21st century." New Sound, no. 56-2 (2020): 213–38. http://dx.doi.org/10.5937/newso2055213k.
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This article focuses on the one specific question about folk music quotations and allusions in the symphonic music of Latvian composers in the last third of the 20th century (from the 70s) and the early 21 st century. Several Latvian composers (e.g. Romualds Kalsons, Pēteris Butāns, Pēteris Vasks, Pēteris Plakidis, Juris Karlsons) in their NEO-romantic symphonic works reflects interesting cases of Latvian folk music quotation, quasi quotation or allusion. Overall these are cases that show the composer's ability to actively use and create a similarity with Latvian folk music. However, this aspect raises the following questions. What kind of local (Latvian) traditions regarding folk music use (in general) are represented by Latvian composers? Why, at the end of the 20 th century and the early 21st century, have several composers continued to use folk music quotations or create folk music allusions? What symbolizes the folk music quotations and allusions in the context of the postmodern period's characteristic musical aesthetic and stylistics? It is hoped that this analysis will provoke a fruitful exchange of views on this question from different aspects.
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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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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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Kritzinger, Jacobus P. K. "Three Love Stories, Three Caves, Three Suicides." Scrinium 13, no. 1 (November 28, 2017): 159–69. http://dx.doi.org/10.1163/18177565-00131p14.
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In her commentary on Jerome’s Vita Malchi, in the section called ‘Literary form and texture’ Gray discusses the existing literature on which Jerome drew in composing Vita Malchi. She provides a detailed account of the sources and possible influences on Jerome under the headings Christian literature, biblical quotations and allusions, and secular literature. In a previous article, I have indicated multiple references and allusions to both classical sources and the Bible in this work of St Jerome. In this article the focus falls on a possible allusion to the story of Pyramus and Thisbe, a source which has not previously been considered amongst the possible influences on Vita Malchi. The love stories of Aeneas and Dido and Pyramus and Thisbe are compared to and contrasted with the story of Malchus and his ‘wife’.
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van Dijk, Conrad. "Survival or Revival?: C.S. Lewis's Medievalism in The Lion, the Witch and the Wardrobe." Journal of Inklings Studies 13, no. 2 (October 2023): 180–201. http://dx.doi.org/10.3366/ink.2023.0196.
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C.S. Lewis's The Lion, the Witch and the Wardrobe has often been considered overly eclectic in its use of mythologies and literary sources. This essay argues that the unity of the story is not impaired by frequent allusions to previous texts but is grounded in Lewis's particular brand of medievalism, which encourages a playful renewal of medieval romance, not least by means of a rewriting of authors such as Thomas Malory. Lewis's use of allusion and pastiche help explain many of his artistic choices, from the characterization of the White Witch to the archaic language in the Hunt for the White Stag. The essay uncovers several important, unrecognized allusions and demonstrates that Lewis's use of his medieval source material is not only humorous but also purposeful and culturally relevant.
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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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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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Quinn, Gerard. "Frost's Synecdochic Allusions." Resources for American Literary Study 25, no. 2 (January 1, 1999): 254–64. http://dx.doi.org/10.5325/resoamerlitestud.25.2.0254.
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CAMPBELL, J. "ALLUSIONS AND ILLUSIONS." French Studies Bulletin 15, no. 53 (January 1, 1994): 18–20. http://dx.doi.org/10.1093/frebul/15.53.18.
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Quinn, G. (Gerard). "Frost's Synecdochic Allusions." Resources for American Literary Study 25, no. 2 (1999): 254–64. http://dx.doi.org/10.1353/rals.1999.0009.
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Shawcross, John T. "Two Herbert Allusions." George Herbert Journal 9, no. 2 (1986): 57–58. http://dx.doi.org/10.1353/ghj.1986.0007.
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Udovichenko, H. M., and Ya S. Mysnik. "STRUCTURE AND SEMANTICS OF ALLUSION-REALIA IN THE FUNCTION OF EVALUATION PREDICATES AND RELATIVE ALLUSIVE EVALUATION PREDICATES." INTELLIGENCE. PERSONALITY. CIVILIZATION, no. 2 (23) (December 30, 2021): 69–77. http://dx.doi.org/10.33274/2079-4835-2021-23-2-69-77.
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Objective. The objective of the article is to analyze the structure and semantics of allusions-realia in the function of evaluative predicates and relative allusive evaluation predicates. Methods. The main scientific results are obtained using a set of general scientific and special research methods, namely: analysis, generalization and systematization of scientific and educational literature on literary studies, psychology, linguistics; theoretical generalization, analysis and synthesis, as well as comparative, descriptive and analytical Results. The article considers allusive evaluation predicates represented by a wide range of structural and semantic diversity. Results. Allusive evaluation predicates are subdivided, by the nature of the interaction of the allusion denotation with the object of evaluation, into comparative, based on the comparison of the object of evaluation with the allusion denotation on the principle of their similarity, polarity or asymmetry, and relative based on his knowledge or attitude to the allusion denotation, or on the basis of the imaginary involvement of the object in a particular event, or its imaginary connection with some famous person, as a result of which the object acquires characteristics associated with the event or personality. In the form of textual representation, allusive evaluation predicates can be resembling of cultural realia and names of famous people, author’s occasionalisms, reviews of quotes, proverbs, sayings. In addition, denotations of allusions may undergo, at the discretion of the author, some modifications in order to maximize the specification of the evaluative meaning or its intensification. Regarding allusions-realia, it should be noted that theoretically any realia could be included in the evaluation of judgments, both positive and negative, because it can be viewed from different points of view. Still, in most cases, every fact gets in the minds of people or rather positive or rather negative colour. Therefore, being included in the work of art, realia brings with it its original sign, which can be preserved or changed depending on the light in which realia is presented.
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Dilso`z Rasuljon qizi Xoshimova and Xilolaxon Avazbek qizi Maxmudjonova. "The Types of Allusions: Unlocking Literary Connections and Enhancing Meaning." Journal of Advanced Zoology 44, S6 (December 10, 2023): 1712–15. http://dx.doi.org/10.17762/jaz.v44is6.2606.
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This article is presented as an example of research on the study of the allusions in the English language. Allusion serves as a powerful rhetorical device that enriches communication by adding layers of meaning, establishing connections, evoking emotions, and developing characters or themes. Its functions range from enhancing depth and complexity to providing cultural and historical context, and from engaging the audience to showcasing the writer's skill and craftsmanship.
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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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Serebriakova, Svetlana V., and Angelina A. Likhovid. "Preserving the Allusion of an English Victorian Novel in Translation Discourse." Current Issues in Philology and Pedagogical Linguistics, no. 1 (March 25, 2022): 233–42. http://dx.doi.org/10.29025/2079-6021-2022-1-233-242.
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This research is devoted to the study of the peculiarities of preserving the allusions of a Victorian novel when translated from English into Russian. The source of the material was E. Gaskell’s novel “North and South” and its translations into Russian by V. Grigorieva with E. Pervushina and S. Trofimov. The relevance of the topic and the relevance of the material involved are due to the relatively recent entry of the novel into Russian-speaking culture and the clearly insufficient degree of study of its translations into Russian. The study of the linguistic and stylistic features of the novel “North and South” and its translated versions allows us to draw conclusions about the specifics of the idiostyle and worldview of E. Gaskell, as well as about the participation of translators in the creative process. The aim of the work is to identify the specifics of the translation of allusions with an emphasis on preserving their associative-cognitive invariant. In the course of the research, we examined the concept of a literary text as an aesthetic and semantic unity, and defined its pragmatic function. The article raises the question of the dual role of the translator as the recipient and sender of the text at the same time, taking into account their linguistic personality. The definition of allusion as a cognitive concept is given, highlighting its main characteristics, after which a detailed analysis of the most complex and interesting cases of the use of allusions in the text and analysis of translation solutions is carried out. Cases of translation of allusions that have lost their relevance or are not part of the background knowledge of the recipient of the target language are considered. At the end of the article, a conclusion is drawn about the possibility of a creative approach in the translation of allusions, which allows the translator’s linguistic personality to be revealed most fully.
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Goodrich, John K. "Sold under Sin: Echoes of Exile in Romans 7.14-25." New Testament Studies 59, no. 4 (September 3, 2013): 476–95. http://dx.doi.org/10.1017/s0028688513000180.
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Although Romans has been heavily mined for scriptural allusions in recent years, the influence of Isaiah 49–50 on Rom 7.14-25 has gone largely unnoticed. Building on Philonenko's work on the allusion to Isa 50.1 in the phrase ‘sold under sin’ (Rom 7.14), this study seeks to identify additional echoes from LXX Isa 49.24–50.2 in Rom 7.14-25 and to interpret Paul's discourse in the light of the sin–exile–restoration paradigm implied by both the source's original context and Paul's own strategic use of Isaiah in his portrayal of the plight of ἐγώ. The identification of these echoes, it is suggested, aids in interpreting the story of ἐγώ by connecting the allusions to Israel'searlyhistory in Rom 7.7-13 to images of the nation'slaterhistory in 7.14-25, thus showing the speaker's plight under sin to be analogous to Israel's own experiences of deception, death, and exile.
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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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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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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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van Dijk, Gert-Jan. "Fabula Aesopici canis." Reinardus / Yearbook of the International Reynard Society 35 (December 31, 2023): 190–209. http://dx.doi.org/10.1075/rein.00075.van.
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Abstract Fables usually appear either assembled in fable collections or as exempla in other literary genres. In many cases, especially if the fable is well-known, there is no need to retell the full version of it and a short allusion will be sufficient for the reader to recognize the fable. This contribution offers a complete analysis of forty-two allusions to fables in Greek and Latin literature.
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Шатунов, Юрий Александрович. "RUSSIAN POETRY AND ADVERTISING: POINTS OF ATTRACTION AND INERTIA OF REPULSION." Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev, no. 3(116) (October 7, 2022): 135–42. http://dx.doi.org/10.37972/chgpu.2022.116.3.017.
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В работе рассматриваются тенденции развития современной русской поэзии. Отмечена недостаточная изученность процесса сближения и взаимовлияния поэзии и рекламы, что определяет актуальность исследования. Источниковой базой работы послужили материалы литературных сайтов, интернет-архивов рекламы. В исследовании были применены культурно-исторический, герменевтический и традиционный описательный методы. Дается обзор концептуальных подходов к использованию производителями рекламы поэтических образов и приемов саморекламы мастерами изящной словесности. Анализируются такие культурно-технологические феномены, как симультанность, аллюзии, реминисценции, массовизация культуры. Рассматриваются направления сближения и примеры взаимопроникновения поэзии и рекламы. Выявлена зависимость функционального потенциала используемых поэтических аллюзий от социально-культурных характеристик целевой аудитории, профессионального уровня производителя рекламы и рекламного бюджета. Предложено выделение двух категорий литературных аллюзий - конструктивной и деструктивной. Конструктивные аллюзии ориентированы на уважительное отношение к своим денотатам, сохранение их аутентичности и формирование исключительно положительных ассоциаций и позитивных эмоций у адресата рекламы. Деструктивные - имеют целью повысить авторитет рекламодателя или его продукта за счет искажения или уничижения денотата аллюзии. Качественная реклама с конструктивными поэтическими аллюзиями может служить действенным средством популяризации как классической, так и современной поэзии. The paper examines the trends in the development of modern Russian poetry; reveals insufficient study of the process of convergence and mutual influence of poetry and advertising, which determines the relevance of the study. The source base of the work was the materials of literary sites, Internet advertising archives. Cultural-historical, hermeneutic, and descriptive methods were used in the study. The paper provides an overview of conceptual approaches to the use of poetic images and self-promotion techniques by masters of fine literature by advertisers; analyzes such cultural and technological phenomena as simultaneity, allusions, reminiscences, and mass culture; considers the directions of convergence and examples of interpenetration of poetry and advertising. There has been revealed the dependence of the functional potential of the poetic allusions used on the socio-cultural characteristics of the target audience, the professional level of the advertising producer and the advertising budget. the author proposes to distinguish two categories of literary allusions - constructive and destructive. Constructive allusions are focused on respect for their denotations, preservation of their authenticity and the formation of exclusively positive associations and positive emotions in the addressee of advertising. Destructive allusions aim to increase the credibility of the advertiser or his product by distorting or disparaging the denotation of the allusion. High-quality advertising with constructive poetic allusions can serve as an effective means of popularizing both classical and modern poetry.