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Books on the topic 'Arte allusiva'

Author: Grafiati

Published: 4 June 2025

Last updated: 1 August 2025

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1

Pascucci, Vittorio. L' allusivo iconografico in Santa Maria Corteorlandini. San Marco, 1996.

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2

Books, Austin Abbey Rare. Allusion and imagery in the book art of Sarah Wyman Whitman. Austin Abbey Rare Books, 2018.

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3

Adams, Alison. Webs of allusion: French Protestant emblem books of the sixteenth century. Droz, 2003.

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4

"Il ricco edificio": Arte allusiva nella Gerusalemme liberata. L. S. Olschki, 2005.

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5

Wasdin, Katherine. Allusive Superstars. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190869090.003.0003.

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The evening star and its counterpart, the morning star, play important roles as generic markers in wedding poetry and love poetry. Poetic appearances of the stars commonly allude to at least one previous example, creating a chain of literary references across antiquity. These stars exert a powerful influence on human activities. In weddings, the evening star brings the bride to the groom, separates her from her family, and arouses mixed emotions of delight and fear. In love poetry, the evening star may unite lovers, but they are unavoidably separated by the morning star, herald of the dawn. Th

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6

Graves, Margaret S. Arts of Allusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190695910.001.0001.

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The art of the object reached unparalleled heights in the medieval Islamic world, yet the deep intellectual dimensions of ceramics, metalwares, and other plastic arts in this milieu have not always been acknowledged. Arts of Allusion reveals the object as a crucial site where premodern craftsmen of the eastern Mediterranean and Persianate realms engaged their creations in fertile dialogue with poetry, literature, painting, and, perhaps most strikingly, architecture. Through close studies of objects from the ninth to the thirteenth centuries, this book reveals that allusions to architecture abo

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7

Graves, Margaret S. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190695910.003.0007.

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The conclusion places the art of the object into an expanded field, where it is shown to be contiguous with other visual and verbal artforms including architecture, painting, poetry, and rhetoric. It locates the peak of the allusive object in the pre-Mongol Middle East and speculates about its decline in the later medieval and early modern periods. It also considers the change in meaning that the subjects of the book have undergone as they transition from being objects of use to objects of display. The conclusion ends with final consideration of the nature of allusion and its implications for

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8

Arts of Allusion: Object, Ornament, and Architecture in Medieval Islam. Oxford University Press, Incorporated, 2018.

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9

Bal, Mieke. Sneaky Snakes. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198722618.003.0033.

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Stories are very effective means of seduction, and stories allegedly about seduction even more so than others. I will look at three sets of artworks that use allusion to bring in biblical stories and, in the process, change these. Paradoxically, the frequent presence of biblical stories in culture at large also makes them handy tools to subvert their own baggage of misinterpretation. My analysis of three visual artworks is based on what I call a ‘politics of allusion’. An allusion is not a metaphor; instead of replacing one thing with another, an allusion enfolds the alluded into what we see.

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10

Hogarth's hidden parts: Satiric allusion, erotic wit, blasphemous bawdiness and dark humour in eighteenth-century English art. Olms, 2010.

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11

Graves, Margaret S. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190695910.003.0001.

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The introduction outlines the art of the object in medieval Islam and introduces several of the book’s key concepts. It aligns architecture and the plastic arts, and shows how points of commonality between these “arts of the third dimension” are drawn allusively in the medieval Islamic context, relying not on direct morphological likeness but on indirect models of representation. It also discusses the implications of miniaturization and draws distinctions between the allusive artworks under discussion and representational objects like architectural maquettes or votive models. The introduction

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12

Hilliard, Christopher. Bad Language. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198799658.003.0011.

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This chapter is a complement to chapter five. Where chapter five examined handwriting as a site of the social and the individual, this chapter deals with vocabularies in a similar context. It focuses in particular on the nature of the swearing in the libels, a substantial sample of which are reproduced and discussed in this chapter. Swan’s obscenities were creative in a childish way, reflecting the fact that, as a respectable single woman, she was excluded from the kinds of places where people learned to swear proficiently. Her profanity was ‘bad language’ not just in the ordinary sense, but a

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13

Watson, Gray. Art and Sex. I.B.Tauris & Co. Ltd, 2008. http://dx.doi.org/10.5040/9781350520424.

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In this ‘no-holds barred’ volume Gray Watson surveys the vast array of images of sex and sexuality in contemporary art. He finds sex in some surprising places and draws some fascinating conclusions. His initial consideration of contemporary art's focus on the body leads to an exploration of the important contributions made by the feminist and queer movements. He uncovers sex in the city, sex in nature, and the intimate relationship between sex and the sacred. Looking into representations of ‘taboo’ sexualities including sado-masochism, voyeurism and exhibitionism, Watson argues that such image

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14

Fearn, David. Contact. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198746379.003.0003.

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This chapter offers a new reading of Pindar’s Nemean 8. It investigates the ways in which Pindar frames consciousness about art, cult, and the material world with the language and imagery of desire, vision, and physical contact. Discussion is built around the encounter with the Aeginetan cult hero Aiakos, and the potential for interfaces with contemporary art and ritual through contextual allusion to his Aeginetan shrine. This forms the basis for a broader treatment of the poem’s visual and haptic metaphors, and a wider-ranging musing on epinician poetry’s potential to grant special access: to

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15

Prickett, Stephen. Literary Legacy. Edited by Frederick D. Aquino and Benjamin J. King. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780198718284.013.29.

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Neither Anglicans nor Catholics ever seemed to grasp how inseparable literature and theology were for Newman. His prose fiction, like his poetry, involved complex images and symbols in a network of interconnected references, some obtrusive, some slight and allusive. Though declaring the Catholic Church essentially ‘poetic’ inverted his earlier idealized vision of Anglicanism, this remained a Catholicism with a peculiarly Anglican aesthetic. But if, for those whose interest in Newman is primarily theological, the idea of him as an essentially literary figure seems strange, for those whose knowl

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16

Graves, Margaret S. Occupied Objects. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190695910.003.0004.

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The human form can impart both scale and spatial logic to the objects it adorns. This phenomenon was put to unexpected and sometimes humorous ends by medieval artisans. Focusing on perception, this chapter considers the role of the human figure in architectural allusions on objects from the twelfth- and thirteenth-century Iranian plateau. The power of the represented human form is explored first through ceramic stands that make explicit reference to architectural pavilions. After these, a group of inlaid metalwork inkwells, and the delicately allusive nature of their relationships with full-sc

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17

Erickson, Amy. Jonah. Wm. B. Eerdmans Publishing Co., 2021. http://dx.doi.org/10.5040/bci-0090.

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The dominant reading of the book of Jonah—that the hapless prophet Jonah is a lesson in not trying to run away from God—oversimplifies a profound biblical text, argues Amy Erickson. Likewise, the more recent understanding of Jonah as satire is problematic in its own right, laden as it is with anti-Jewish undertones and the superimposition of a Christian worldview onto a Jewish text. How can we move away from these stale interpretations to recover the richness of meaning that belongs to this short but noteworthy book of the Bible? This Illuminations commentary delves into Jonah’s reception hist

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Fowler, Virginia C. Nikki Giovanni. ABC-CLIO, LLC, 2013. http://dx.doi.org/10.5040/9798400691621.

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This book offers a comprehensive examination of the life and work of Nikki Giovanni, one of the most prolific and well-known poets to emerge during the Black Arts Movement. Nikki Giovanni: A Literary Biography focuses on one of the most widely read poets to emerge from the Black Arts Movement, providing a thorough examination of Giovanni's life and work, from her earliest volume of poetry, Black Feeling Black Talk, to the recent Bicycles. The book addresses Giovanni's preoccupation with historical themes and the past, and demonstrates the pervasiveness of music in Giovanni's poetry. Drawing on

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19

Bronstein, Michaela. Modernism Today, or The Author Becomes a Character. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190655396.003.0006.

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The final chapter examines the recent appearance of biographical fiction about the recuperative modernists from four continents—Cynthia Ozick’s Dictation, Michiel Heyns’s The Typewriter’s Tale, Colm Tóibín’s The Master, and Juan Gabriel Vásquez’s Secret History of Costaguana. These works go beyond influence or allusion: they simultaneously trade on the continuing appeal of their subject writers (and on the style of their subjects), and examine them from the perspective of a future to which they are already a little bit out of date. It is this dichotomy—between a persisting readership and a spe

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20

Beal, Amy C. End of Vienna. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036361.003.0010.

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This chapter discusses Bley's Fancy Chamber Music (1998). Though many of Bley's non-big-band compositions are chamber music of some kind, since the mid-1980s, she has occasionally worked in a category she calls “Fancy Chamber Music.” Compositions in this category consist of fully notated pieces for nonimprovising musicians. In 1996, Bley released the record Fancy Chamber Music, which includes six works played by an octet. As she does with all the musical styles she embraces within her compositions and arrangements, Bley engages the European classical tradition fully. Yet she complicates her mu

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21

Jolowicz, Daniel. Latin Poetry in the Ancient Greek Novels. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192894823.001.0001.

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This work establishes and explores connections between Greek imperial literature and Latin poetry. As such, it challenges conventional thinking about literary and cultural interaction of the period, which assumes that imperial Greeks are not much interested in Roman cultural products (especially literature). Instead, it argues that Latin poetry is a crucially important frame of reference for Greek imperial literature. This has significant ramifications, bearing on the question of bilingual allusion and intertextuality, as well as on that of cultural interaction during the imperial period more

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22

Gensheimer, Maryl B. The Role of Iconographical Programs at the Baths of Caracalla. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190614782.003.0003.

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To query the sociopolitical rationale that may have prompted the emperor Caracalla to endow such a monumental bathing facility, Chapter 3 addresses the iconographical trends that mark distinctive emphases within the larger body of the Baths’ decorative program. Particular attention is paid to representations of Hercules, Bacchus, and other divinities and personifications associated with the emperor, as well as Homeric and other mythological exempla that are likewise an allusion to imperial largess. Similarly, the historical reliefs from the palaestrae and the honorific portrait statues of the

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23

Stump, Eleonore. The Problem of Suffering. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821625.003.0002.

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In this chapter, suffering is described as a function of what a person cares about, so that for a human being to suffer is for him or her to be kept from flourishing. But what we care about has a subjective side too—denoted as ‘the desires of the heart’. Thus, the ‘problem of suffering’ is the task of accounting for the fact that many people are kept from flourishing, or from having the desires of their heart, or both. With respect to flourishing, the chapter follows Aquinas in regarding suffering as “God’s medicine for human beings,” and this claim is supported by allusion to empirical studie

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24

Krulak, Todd. Powers and Poiēseis. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780198767206.003.0006.

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This chapter focuses on an allusion to the ritual of statue animation found in Proclus’ Commentary on the Timaeus. Through this ritual, statues were considered as being consecrated, ‘ensouled’ by deity, and thus rendered fit to communicate oracles. In the Commentary on the Timaeus, Proclus hints that the deity could appear in lesser or greater degrees. Those who obtained but a dim manifestation of the god, experienced only the secondary and tertiary powers of the deity, while those who encountered the god fully and clearly, were thought to participated in its creative activities. The chapter a

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25

Quint, David. Ulysses and the Devils: The Unity of Book 2. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691161914.003.0003.

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This chapter focuses on book 2 of Paradise Lost. In book 2, Milton continues the story of the demilitarization of the fallen angels and of his epic more generally when he bases all of its action around the figure of Ulysses, the hero of eloquence and fraud, whose own epic comes in the aftermath of the Trojan War. The chapter demonstrates that the Odyssey, imitated and parodied in Satan's voyage through Chaos to God's newly created universe in the book's last section, is just one of the classical stories about the career of Ulysses that Milton evokes as models for its different episodes. The va

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Péteri, Lóránt. Idyllic Masks of Death. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199316090.003.0007.

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Mahler’s orchestral song ‘Das himmlische Leben’ (1892) includes references to the chanson of Aristaeus from Act I of Offenbach’s Orphée aux Enfers (1858)—an opéra bouffon Mahler conducted twice in Kassel, between 1883 and 1885. The archaisms of melodic line, part-writing, harmonisation and orchestration in Mahler’s song are at least partly inspired by the direct historicism of Offenbach’s fake pastoral. Irony also has a crucial role in the rhetoric strategies of both works. Jean Paul’s definition of humour as ‘the inverted sublime’ can just as well be applied to Offenbach’s parody of a myth as

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27

Jones, Chris. The Constant Roots of English Song. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824527.003.0003.

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This chapter documents a wide variety of nineteenth-century Anglo-Saxon poems, real, mediated, and imaginary, that both contributed and conformed to a pattern of understanding that insisted on English literary culture as essential and unchanging. The chapter begins with more examples of ‘Saxon’ poems from Scott’s Ivanhoe, examples which more conventionally typify the early nineteenth-century construction of Anglo-Saxon than Ulrica’s Hymn. The editorial and translational choices made by John and William Conybeare in Illustrations of Anglo-Saxon Poetry receive close scrutiny, and the invention o

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28

Karshan, Thomas, and Kathryn Murphy, eds. On Essays. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198707868.001.0001.

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What is an essay, and how did the essay emerge as a literary form? What are the continuities and surprising emergences across its history, from Montaigne’s 1580 Essais to the present? This volume assembles seventeen essays which address patterns and oddities in the history of the genre, paying attention both to the transformed legacies of the earliest essayists across the centuries, and to the form’s contemporary vibrancy. Contributors, both scholars and essayists, draw out paradoxes of what is considered the fourth genre, often overshadowed in literary history and criticism by fiction, poetry

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29

Wilcher, Robert. Keeping the Ancient Way. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859746.001.0001.

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This book sets Henry Vaughan in the context of his own time and in the context of the development of Vaughan studies since his work was rediscovered during the first half of the nineteenth century. Each chapter contains a relatively free-standing treatment of a single topic, but the ten main chapters are organized into a structure that progressively opens up biographical, intellectual, political, religious, and literary aspects of the man and his work. The topics chosen for consideration are areas of current research and ongoing critical debate. Part One deals with Vaughan’s relation to the wo

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30

Quint, David. Reversing the Fall in Book 10. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691161914.003.0008.

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This chapter places the reconciliation of Adam and Eve in book 10 against the preceding first two-thirds of book 10, which have described the building by Sin and Death of their bridge over Chaos and Satan's return to hell. Each of these appears to be a “triumphal act,” allusively associated with the triumph of Augustus depicted on the shield of Aeneas in Aeneid 8, the chronological “ending” of Virgil's poem. However, allusion equally returns both demonic acts to the beginning of the Aeneid, the storm and shipwreck off of Carthage, and suggests the recursive shape of evil in the larger book 10—

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31

Stelow, Anna R. Menelaus in the Archaic Period. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199685929.001.0001.

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The figure of Menelaus has remained notably overlooked in scholarship on the major heroes and heroines of Homeric epic. This book studies the Homeric character through a multidisciplinary approach to his depiction in archaic Greek poetry, art, and cult, providing a detailed analysis of ancient literary, visual, and material evidence. It first examines the portrayal of Menelaus in the Homeric poems as a unique ‘personality’ with an integral role to play in each narrative, as depicted through typical patterns of speech and action and through intertextual allusion. The book then explores his repr

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32

Mattison, Mike, and Ernest Suarez. Poetic Song Verse. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496837271.001.0001.

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This unique and accessibly written study discusses the relationship between the blues, rock, folk, jazz, and poetry in the twentieth and twenty-first centuries, but it is anchored in the 1960s, when a concentration of artists transformed modes of popular music from entertainment to art-that-entertains. The authors (a professional musician and a literary historian) synthesize a wide range of writing about music—biographies, histories, articles in popular magazines, personal reminiscences, and a selective smattering of academic studies—and examine the development of a relatively new literary gen

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33

Clement, Russell T. Four French Symbolists. Greenwood, 1996. http://dx.doi.org/10.5040/9798400653377.

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The first comprehensive, scholarly sourcebook/research guide/bibliography on the major French Symbolists painters, this work includes nearly 3,000 entries covering a variety of materials. Each artist receives a primary and secondary bibliography with many annotated entries. Art works, personal names, and subject indexes facilitate easy access. The volume is designed for art historians, art students, museum and gallery curators, and others interested in this major art style of the last half of the 19th century and the first quarter of the 20th century. Art museums and art libraries in both the

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34

Tsagalis, Christos C. The Homeric Doloneia. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780192870988.001.0001.

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Abstract The Doloneia is the most controversial book of the Iliad, its authenticity having been doubted since antiquity. Modern scholars are divided between those who regard it as a major interpolation by a later poet who was trained in the technique of epic composition and those who see it as the earliest manifestation of the very ancient theme of lochos. However, the first claim assumes the stylistic homogeneity of book 10, while the second sweeps out dictional and thematic difficulties by attributing them to the theme of ambush that is weakly represented in the extant corpus of archaic Gree

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35

Risio, Patricia Di. Gender and Genre in 1990s Hollywood. Bloomsbury Publishing Plc, 2024. https://doi.org/10.5040/9781350292864.

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The 1990s was a decade of significant turmoil in Hollywood cinema, which resulted in a watershed moment in the interplay of gender and genre.Patricia Di Risio argues that cinematic representations of unconventional women had an important effect on traditionally male oriented genres, such as the crime thriller, road movie, western, film noir, war film, sci-fi, and horror. Di Risio analyses seven key films from the decade, includingBlue Steel(1990),Thelma & Louise(1991),The Quick and the Dead(1995),Bound(1996),Jackie Brown(1997),G.I. Jane(1997) andAlien: Resurrection(1997), paying particular

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36

Alonso, Alex. Paul Muldoon in America. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198859659.001.0001.

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Paul Muldoon was looking west long before he left Ireland for the United States in 1987, and his transatlantic departure would prove to be a turning point in his life and work. In America, where he now lives as a US citizen, Muldoon’s creative repertoire has extended into song writing, libretti, and literary criticism, while his poetry collections have themselves extended to outlandish proportions, typified in recent years by a level of formal intensity that is unique in modern poetry. To leave Northern Ireland, though, is not necessarily to leave it behind. Muldoon has spoken of his ‘sense of

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37

Kahn, Andrew. Mandelstam's Worlds. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857938.001.0001.

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Rightly appreciated as a ‘poet’s poet’, Mandelstam has been habitually read as a repository of learned allusion. Yet as Seamus Heaney observed, his work is ‘as firmly rooted in both an historical and cultural context as real as Joyce’s Ulysses or Eliot’s Waste Land’. Great lyric poets offer a cross-section of their times, and Mandelstam’s poems represent the worlds of politics, history, art, and ideas about intimacy and creativity. The interconnections between these domains and Mandelstam’s writings are the subject of this book, showing how engaged the poet was with the history, social movemen

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38

von Stackelberg, Katharine T., and Elizabeth Macaulay-Lewis, eds. Housing the New Romans. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190272333.001.0001.

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This volume investigates how appropriation and allusion facilitated the reception of Classical Greece and Rome and ancient Egypt through place-making, specifically through the requisition and redeployment of Classicizing and Egyptianizing tropes to create Neo-Antique sites of “dwelling” and place-making oriented toward private life (houses, hotels, clubs, tombs, and gardens) in the late eighteenth, nineteenth, and twentieth centuries. The essays cover both European and American iterations of place-making, including the Hôtel de Beauharnais, Paris; Sir John Soane’s houses in London and Ealing;

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39

Staël, Madame de, and John Isbell. Corinne. Edited by Sylvia Raphael. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199554607.001.0001.

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‘Look at her, she is the image of our beautiful Italy.’ Corinne, or Italy (1807) is both the story of a love affair between Oswald, Lord Nelvil and a beautiful poetess, and an homage to the landscape, literature and art of Italy. On arriving in Italy, Oswald immediately falls under Corinne’s magical spell as she is crowned a national genius at the Captitol. Yet, on returning to England, he succumbs to convention and honours his late father’s wish by marrying the dutiful English girl, Lucile, despite having learned that Corinne is Lucile’s Italian half-sister. Corinne dies of a broken heart and

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40

Cillis, Maria De, ed. Salvation and Destiny in Islam. Bloomsbury Publishing Plc, 2018. https://doi.org/10.5040/9781788319942.

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I.B. Tauris in association with the Institute of Ismaili Studies Medieval Islamic philosophers were occupied with questions of cosmology, predestination and salvation and human responsibility for actions. For Ismailis, the related notions of religious leadership, namely the imamate, and the eschatological role of the prophets and imams were equally central. These were also a matter of doctrinal controversy within the so-called Iranian school of Ismaili philosophical theology. Hamid al-Din al-Kirmani (d. after 411/1020) was one of the most important theologians in the Fatimid period, who rose t

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