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Journal articles on the topic 'Arte allusiva'

Author: Grafiati

Published: 4 June 2025

Last updated: 1 August 2025

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1

Fera, Maria Cannatà. "A proposito di arte allusiva negli elegiaci arcaici." Quaderni Urbinati di Cultura Classica 32, no. 2 (1989): 121. http://dx.doi.org/10.2307/20547003.

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2

D’ Angelo, Rosa Maria. "Arte allusiva e mitologia astrale in Epigr. Bob. 29 Sp." Wiener Studien 128 (2015): 129–44. http://dx.doi.org/10.1553/wst128s129.

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3

Diniz, Fábio Gerônimo Mota. "Arte allusiva: a representação de Medeia na Argonáutica de Apolônio de Rodes e nas Metamorfoses de Ovídio." Classica - Revista Brasileira de Estudos Clássicos 29, no. 2 (2017): 55. http://dx.doi.org/10.24277/classica.v29i2.292.

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O presente texto tem por objetivo analisar a notável influência da aparição da personagem Medeia no poema épico helenístico Argonáutica, de Apolônio de Rodes, especialmente no canto III, sobre a representação da mesma personagem no Livro VII das Metamorfoses de Ovídio. A análise se dará, sobretudo, sob a ótica da chamada arte allusiva, procedimento análogo à moderna intertextualidade, que incide sobre as relações de influência entre as obras clássicas. Partindo da relação existente entre os poetas helenísticos como influência para os escritores romanos, a leitura se desenvolverá, contudo, apen

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4

Paschalis, Michael. "The Abduction of Helen: A Reappraisal." Ramus 37, no. 1-2 (2008): 136–50. http://dx.doi.org/10.1017/s0048671x0000494x.

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‘Bad poetry is written daily, and married women seduced; but it is seldom that a seduction becomes as famous as Helen's, or that a poem as bad as Colluthus’ survives for fourteen centuries to be re-edited with all the apparatus of scholarship and equipped with commentary at the rate of a page for every two lines of verse. γᾷ δ' ἐπισκήπτων πιϕαύσκω: Colluthus is one of the very worst ancient poets to have come down to us. His only notion of the art is to arrange in hexameters phrases borrowed from his predecessors, with little sense of their appropriateness or of narrative coherence. It is as i

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5

Hardie, Phillip. "Virgil's Ptolemaic Relations." Journal of Roman Studies 96 (November 2006): 25–41. http://dx.doi.org/10.3815/000000006784016170.

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An allusive plot of an incestuous brother-sister marriage runs through Virgil's story of Dido and Aeneas, signalled both by imagery comparing Dido and Aeneas to Diana and Apollo, moon and sun, and by allusion to Callimachean poems celebrating actual brother-sister marriages at the Ptolemaic court. Aeneas' departure from Carthage marks the relegation to the past of Alexandrian temptations and a journey to a future foundation based on exogamy, although Italy itself is not free from the dangers of incest and fratricide. Ovid's explicit tales of incest comment on Virgil's allusive narrative.

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6

Lyne, R. O. A. M. "Vergil's Aeneid: Subversion by Intertextuality Catullus 66.39–40 and Other Examples." Greece and Rome 41, no. 2 (1994): 187–204. http://dx.doi.org/10.1017/s0017383500023408.

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I think we have to accept that the term intertextuality serves a purpose. One of the terms it allows us to dispense with, allusion, has its disadvantages.Up until recently I was happy with ‘allusion’: Vergil ‘alludes’ to Homer. The term was time-honoured, and, surely, unproblematical. Unproblematical, and not, so far as it went, and in the right hands, unsubtle. One meant that Vergil was not just using his source text (or his significant source text) as raw material. The source text became part of the new text, its characters and context were relevant to the new text. Thus, when in his opening

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7

McClary, Richard Piran. "Allusive Objects." Art History 43, no. 4 (2020): 859–61. http://dx.doi.org/10.1111/1467-8365.12521.

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8

Harris, Stephen J. "Bede and Gregory's Allusive Angles." Criticism 44, no. 3 (2002): 271–89. http://dx.doi.org/10.1353/crt.2003.0003.

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9

Layton, J. D. "Structures of allusion." Journal of Visual Art Practice 8, no. 1 and 2 (2009): 99–117. http://dx.doi.org/10.1386/jvap.8.1and2.99_1.

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10

Pasco, Allan H. "The Allusive Complex of Balzac's Pierrette." French Forum 26, no. 3 (2001): 27–42. http://dx.doi.org/10.1353/frf.2001.0032.

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11

Gournelos, Ted. "Blasphemous Allusion." Journal of Communication Inquiry 33, no. 2 (2008): 143–68. http://dx.doi.org/10.1177/0196859908329278.

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12

Irwin, William. "What Is an Allusion?" Journal of Aesthetics and Art Criticism 59, no. 3 (2001): 287–97. http://dx.doi.org/10.1111/1540-6245.00026.

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13

Smith, Alden. "Propior Patriae: Allusion, Rhetoric, and Persuasion in ex Ponto 1.2." Arethusa 53, no. 3 (2020): 191–211. http://dx.doi.org/10.1353/are.2020.0016.

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14

Kilgour, Maggie. "Comus's Wood of Allusion." University of Toronto Quarterly 61, no. 3 (1992): 316–33. http://dx.doi.org/10.3138/utq.61.3.316.

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15

Ripoll, François. "Mémoire de Valérius Flaccus dans l’Achilléide de Stace." Revue des Études Anciennes 116, no. 1 (2014): 83–103. http://dx.doi.org/10.3406/rea.2014.5861.

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The influence of the Argonautica of Valerius Flaccus on the Achilleid of Statius has received little attention from the scholars. A close examination of Statius’ second epic reveals however a deep impregnation by the work of his Flavian predecessor, on many levels : from an occasional reminiscence brought by a contextual similitude to a deliberate allusive strategy. I have tried to classify and study the different types of Valerian reminiscences in the Achilleid from the point of view of its intellectual genesis : incident memory, derived memory, combined memory, diffuse memory, and allusive m

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16

Sitterson, Joseph C. "Allusive and Elusive Meanings: Reading Ariosto's Vergilian Ending." Renaissance Quarterly 45, no. 1 (1992): 1–19. http://dx.doi.org/10.2307/2862829.

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Whatever the poem's ambiguities, the Orlando Furioso's ending has always seemed allusively unproblematic: in the words of Ariosto's sixteenth-century English translator, Sir John Harington, “in the death of Rodomont, to shew himself a perfect imitator of Virgill, [Ariosto] endeth just as Virgil ends his Aeneads with the death of Turnus.”He sank his blade in fury in Turnus’ chest.Then all the body slackened in death's chill,And with a groan for that indignityHis spirit fled into the gloom below.(Aeneid 12. 950-52)

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17

qizi, Yuldasheva Maftunaxon Azizjon. ""WEAVING THE PAST INTO THE PRESENT: THE ART OF ALLUSION, PRECEDENT NAMES, EPIGRAPHS, AND REMINISCENCE IN LITERATURE"." Current Research Journal of Philological Sciences 5, no. 10 (2024): 25–29. http://dx.doi.org/10.37547/philological-crjps-05-10-05.

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This article explores the intertextual devices of allusion, precedentnames, epigraphs, and reminiscence, focusing on how they create connections between literary works and previous texts or traditions. By referencing historical, mythological, or literary sources, these devices deepen the meaning and complexity of narratives. Examples from English and American literature, including Shakespeare, Eliot, Fitzgerald, Melville, and Morrison, demonstrate how these techniques enhance thematic development and engage readers in a larger literary conversation.

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18

Weinrib, Ernest. "Scriptural Allusion and Legal Argument." University of Toronto Quarterly 61, no. 3 (1992): 355–71. http://dx.doi.org/10.3138/utq.61.3.355.

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19

DR. ABDULAZIZ YAHYA ALSHANQITI, DR ABDULAZIZ YAHYA ALSHANQITI. "ILLUMINATING THE DISSIMILLARITIES IN AL-SHAFI'IS WORK." journal of King Abdulaziz University Arts And Humanities 30, no. 3 (2022): 63–89. http://dx.doi.org/10.4197/art.30-3.3.

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this is a brief research and a concise innovative allusion that collects and documents a number of jurisprudential and fundamental dissimilarities from what Imam Al-Shafi’i mentioned - may Allah have mercy on him - in his book Al-Risalah, which was characterized by the style of dialogue and debate in its entirety, and Al-Shafi’i established many of the principles of inference in it.

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20

Gutierrez, Nancy A. "An Allusion to "India" And Pearls." Shakespeare Quarterly 36, no. 2 (1985): 220. http://dx.doi.org/10.2307/2871198.

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21

McCormack, Simon, and Andrew Peckham. "Questions of authenticity: brickwork and ‘found space’." Architectural Research Quarterly 15, no. 2 (2011): 105–18. http://dx.doi.org/10.1017/s1359135511000534.

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Our paper examines the Brick House, completed by Caruso St John Architects in 2005. Nearly invisible from the street with its unusual form and ‘brick’ nomenclature, this clearly is no ordinary house. Despite or perhaps because of its elusive character, which confounds expectations, the house has won universal praise from commentators but has prompted little deeper analysis. The architects set out their agenda for the project in an allusive text that, despite intriguing contradictions, has remained largely unquestioned.

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22

Bonnin, Grégory. "Mélos face à l’appétit athénien (426-416 a.C .) : à propos de la «faim mélienne» d’Aristophane." Revue des Études Anciennes 112, no. 2 (2010): 333–51. http://dx.doi.org/10.3406/rea.2010.6671.

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Dans les Oiseaux, joués en 414, Aristophane fait allusion à une certaine « faim mélienne » qui apparaît de valeur proverbiale, deux ans seulement après le siège athénien qui a vu la chute de la cité insulaire. Le rapprochement chronologique incite à l’association directe avec le siège et avec une famine qui aurait touché alors les Méliens assiégés. Pourtant l’analyse du récit de Thucydide permet de montrer que Mélos tombe, avant tout, suite à une trahison interne et que la faim qui aurait tiraillé les Méliens ne fut en rien exceptionnelle. Le présent article s’attache alors à comprendre la sit

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23

Heath, Malcolm. "Greek Literature." Greece and Rome 64, no. 2 (2017): 182–87. http://dx.doi.org/10.1017/s0017383517000080.

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I began my last set of reviews by expressing doubts about the speculative literary prehistory in Mary Bachvarova'sFrom Hittite to Homer(G&R64 [2017], 65). Near Eastern antecedents also feature in Bruno Currie'sHomer's Allusive Art. Currie displays more methodological awareness and more intellectual suppleness: he recognizes the possibility of parallels arising independently (213–15), but denies that his examples can be coincidental, while acknowledging that this confronts us with a ‘glaring paradox’ (217). To be fair, he has a point in this instance, and in many of his other case studies;

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24

O’Brien, Adam. "In and around The Bay: Water, Fish, Infrastructure." Film Studies 19, no. 1 (2018): 20–33. http://dx.doi.org/10.7227/fs.19.0003.

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An important theme in current studies of environmental representation is the inadequacy of many narratological and stylistic techniques for registering ecological complexity. This article argues that, in the case of cinema, water constitutes an especially vivid example of an allusive natural subject, and it examines the means by which one film, The Bay (Barry Levinson, 2012), manages to confront that challenge. It pays particular attention to The Bay’s treatment of animal life, and its acknowledgement of water’s infrastructural currency. The article draws on the writings of ecocritical literar

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25

de Danaan, Llyn. "The Blossom Falling: Movement and Allusion in a Malay Dance." Asian Theatre Journal 3, no. 1 (1986): 110. http://dx.doi.org/10.2307/1124583.

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26

Golec, Michael J. "Dissatisfaction and Restorative Design: Bruce Rogers, Allusive Typography, and the Grolier Club Champ Fleury (1927)." Journal of Design History 31, no. 4 (2018): 328–45. http://dx.doi.org/10.1093/jdh/epy015.

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27

Held, Joshua R. "Arthur and the Failed Pursuit of Imitatio Christi: Christological Allusion in Spenser’s Faerie Queene and Tennyson’s Idylls of the King." Arthuriana 26, no. 3 (2016): 41–66. http://dx.doi.org/10.1353/art.2016.0037.

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28

Lyne, R. O. A. M. "Structure and Allusion in Horace's Book of Epodes." Journal of Roman Studies 95 (November 2005): 1–19. http://dx.doi.org/10.3815/000000005784016289.

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This article, which was substantively complete at the time of Professor Lyne's sad death, takes a close look at Horace Epodes 13. Lyne displays the complex intertextual and generic resonances of the poem, which is crossed between iambic and lyric ancestry. The poem also functions as a major structural element in the book of Epodes, since it appears to signal a closure which does not happen, and which is wittily picked up in the following poem's apology to Maecenas for the poet's inability to finish the book. This play with finishing, and with iambic books of 13 or 17 poems in length, alludes t

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29

Usunáriz-Iribertegui, Miren. "Ícaros y Luciferes: referencias mitológicas y bíblicas en la sátira política del siglo XVII." Calíope 28, no. 2 (2023): 325–50. http://dx.doi.org/10.5325/caliope.28.2.0325.

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Abstract This article aims to analyze the allusive nature of the references in the political satire of the Spanish Golden Age. The identification of some historical figures with episodes from classical mythology or from the Bible is a usual device in the satire about historic characters.

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30

Holbek, Bengt, and Ruth B. Bottigheimer. "Fairy Tales and Society: Illusion, Allusion, and Paradigm." Journal of American Folklore 103, no. 408 (1990): 226. http://dx.doi.org/10.2307/541863.

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31

Cunningham, Clifford J. "Milton’s Paradise Lost: Previously Unrecognized Allusions to the Aurora Borealis, and a Solution to the Comet Conundrum in Book 2." Renaissance and Reformation 39, no. 1 (2016): 5–34. http://dx.doi.org/10.33137/rr.v39i1.26541.

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This article reveals that John Milton employed an allusion to the aurora borealis in book 6 (79–83) of Paradise Lost, unrecognized in more than three centuries of scholarly analysis. Two other likely allusions, and one certain, to the aurora have also been identified. This research casts doubt on the long-held belief, made popular by the astronomer Edmund Halley (1656–1742), that no notable aurora was visible in England in the seventeenth century. After examining an overlooked note by the English historian William Camden (1551–1623), this article explores the possibility that Milton actually s

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32

Kirkham, Victoria. "Ambiguity and Allusion in Boccaccio's "Filocolo.". Steven Grossvogel." Speculum 70, no. 2 (1995): 376–78. http://dx.doi.org/10.2307/2864921.

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33

Debiais, Vincent. "Allusion and elusion: writing on the Cloisters Cross." Word & Image 39, no. 1 (2023): 33–42. http://dx.doi.org/10.1080/02666286.2023.2168117.

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34

Weiner, Jesse. "O’Neill’s Aeneid: Virgilian Allusion in Mourning Becomes Electra." International Journal of the Classical Tradition 20, no. 1-2 (2013): 41–60. http://dx.doi.org/10.1007/s12138-013-0321-z.

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35

Evans, Robert C. "Shakespeare, Sutton, and Theatrical Satire: An Unreported Allusion to Falstaff." Shakespeare Quarterly 40, no. 4 (1989): 493. http://dx.doi.org/10.2307/2870615.

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36

Nouhaud, Michel. "Sur une allusion d'Eschine (Ambassade, 75) au stratège athénien Tolmidès." Revue des Études Grecques 99, no. 472 (1986): 342–46. http://dx.doi.org/10.3406/reg.1986.1477.

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37

Frankel, David. "Illustration, allusion, and commentary: Choosing the four sons in 1695." IMAGES 4, no. 1 (2010): 18–24. http://dx.doi.org/10.1163/187180010x547611.

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AbstractThe Amsterdam Haggadot of 1695 and 1712 had exceptional influence on subsequent manuscript copies and printed editions, not least because of the copperplate illustrations by Abraham ben Jacob. A reanalysis of the sources from which the figures of the Four Sons were taken reveals that these were not selected at random but that they involve specific allusions to both Jewish and non-Jewish events, providing a form of additional commentary. Their selection demonstrates the visual and historical knowledge and understanding of disparate material on the part of those responsible for choosing

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38

Manning, Erin. "How Do We Repair?" Theater 50, no. 2 (2020): 47–61. http://dx.doi.org/10.1215/01610775-8154819.

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Erin Manning, a participant in goat island archive—we have discovered the performance by making it, suggests the concept of “anarchive” as a new approach to understanding the archive. She argues that the anarchival “follow[s] the logic not of originality or wholeness, but of emergent process,” focusing on the archive’s futuristic value rather than its quality as a collection of past documents. In this allusive, poetic meditation on an ethos of “repair” as it relates to performance, archival processes, and the work of performance collective Goat Island, Manning illuminates how drawing, sculptin

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39

Litinskaya, Evgeniya. "RHETORIC AND POETICS OF DOSTOEVSKY’S PUSHKIN SPEECH." Проблемы исторической поэтики 19, no. 2 (2021): 141–75. http://dx.doi.org/10.15393/j9.art.2021.9583.

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The article examines the F. M. Dostoevsky’s Pushkin's Speech in the context of modern studies of the way ancient heritage was reflected in the writer's work. The analysis of the speech was carried out in the categories of rhetorical poetics. The author proves that the speech is structured according to the rules of epideictic eloquence, with a pronounced emotional component characteristic of Christian preaching. The author identifies established stylistic figures, the use of which is always justified: repetition, parallelism, gradation, amplification, polyphonic forms, period, allusion, irony.

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40

Hurley, David Ross. "Dejanira, Omphale, and the emasculation of Hercules: allusion and ambiguity in Handel." Cambridge Opera Journal 11, no. 3 (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 ‘th

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41

Prasetiawan, Andika, and Widyashanti Kunthara Anindita. "An Analysis of Figurative Language on Online English Memes." Applied Research on English Education (AREE) 2, no. 2 (2024): 70. https://doi.org/10.26714/aree.2.2.2024.70-82.

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The phenomenon of memes has been quite popular among internet users in recent years. Various types of memes have become a new culture for the audience on the internet. This research will analyze the figurative language that is often used by meme creators and the reasonS. This research is descriptive qualitative research. The data in this study are words, phrases, clauses, and sentences in Online English Memes. The sampling technique is purposive sampling technique. The data documentation technique is to search for Online English Memes on several provider sites on the internet (Reddit, 9GAG, Fa

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42

GROGAN, MARIE SCHILLING. "BAPTISMS BY BLOOD, FIRE, AND WATER A TYPOLOGICAL REREADING OF THEPASSIO S. MARGARETAE." Traditio 72 (2017): 377–409. http://dx.doi.org/10.1017/tdo.2017.1.

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A typological reading allows us to see that Margaret's early-medieval Latinpassio, the Mombritius version upon which most later vernacular versions of her popular legend ultimately drew, is a tightly structured figural meditation on the theme of baptism and the sacraments of initiation. Examination of the prayers, the liturgically allusive gestures, and the symbolic elements of the whole narrative reveals a powerful female figure who “presides” over her own ordeal and with her prayers transforms the instruments of torture into baptisms by blood, fire, and water. This narrative's deep structure

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43

Bellion, Wendy. "Illusion and Allusion: Charles Willson Peale's "Staircase Group" at the Columbianum Exhibition." American Art 17, no. 2 (2003): 19–39. http://dx.doi.org/10.1086/444689.

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44

Tarasova, Natalia. "“To Tell the Moment: Stop”. The Poetics of Quotation and Allusion in the Creative History of F. M. Dostoevsky’s Novel “Demons”." Проблемы исторической поэтики 23, no. 2 (2025): 201–44. https://doi.org/10.15393/j9.art.2025.15022.

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The article clarifies the text of Dostoevsky’s draft notes for the novel “Demons,” which have not been published in full and have been inaccurately read by researchers. The establishment of the authentic text of these notes makes it possible to reveal new facts about the creative history of “Demons” and analyze the literary and biblical quotations and allusions used by the author in developing the novel’s concept, as well as biographical motifs contained in the printed text of the novel. The draft entry “To tell the moment: stop” refers to the Faustian theme, which occupied an important place

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45

Bate, Jonathan. "Shakespearean Allusion in English Caricature in the Age of Gillray." Journal of the Warburg and Courtauld Institutes 49 (1986): 196. http://dx.doi.org/10.2307/751296.

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46

Stewart, Paul. "‘to hesitate to die to death’: Reading Augustine and the After-life in Echo’s Bones." Journal of Beckett Studies 32, no. 2 (2023): 162–78. http://dx.doi.org/10.3366/jobs.2023.0402.

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Echo's Bones was Beckett's first attempt at delineating a post-mortem scenario and the allusive presence of St. Augustine's Confessions played a pivotal role in that endeavour. This article examines the various methodological difficulties of analysing Beckett's notetaking from Augustine and subsequent use in the story. It is argued that two key notions emerge from Beckett's allusions to Augustine in the text: a conception of death as dependent on relations with God (one is only fully alive within the grace of God) and the need for God's help to remain continent and to turn away from the demand

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47

Gaskin, Claire. "Poetry as Presence: Working with personae. A survivor's manifesto on poetic practice." Axon: Creative Explorations 13, no. 2 (2024): 62–70. http://dx.doi.org/10.54375/001/sucww1nvon.

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This piece adopts the voice of public declaration to assert poetic practice as survivable resistance to abuses of power. It proposes that poetry is the best means to identify, expose and reconfigure what is implicit in dominant discourses that discredit the way a survivor of sexual assault may communicate. It is found that a poetic use of language that is allusive, evocative and associative can reinvigorate annihilated perspectives so as to add them to public discourse. Poetic methods can be employed to resist and subvert the supposed supremacy of linear and logical narrative structures consid

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48

Krostenko, Brian A. "The Poetics of Naevius' ‘Epitaph’ and the History of Latin Poetry." Journal of Roman Studies 103 (June 11, 2013): 46–64. http://dx.doi.org/10.1017/s0075435813000063.

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AbstractAn analysis of the formal features of the ‘epitaph’ of the poet Naevius reveals the handiwork of a later author who admired the older style of poetry represented by Naevius and used the allusive features of that style to reflect on the changing character of Latin poetics and its relationship to Hellenism. The very poetics of the epigram reveal a thoughtful attempt to admit Hellenic affect without sacrificing Roman sensibilities. Especially important is the relationship between divine and mortal and the proper hierarchy of the social world. The epigram is, in short, one literary reflect

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49

Reza, Rafiei Rad. "Feasibility study of Persian irony functions in Iranian conceptual art." Sprin Journal of Arts, Humanities and Social Sciences 1, no. 2 (2021): 150–56. https://doi.org/10.5281/zenodo.5823563.

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<em>Persian language in Iranian art has had many Functions a long time ago. This function has been revealed sometimes in imagery form for literary fiction in Iranian painting, and sometimes in ultra-modern in form of representation of words, letters and sentences in the works of Iranian contemporary artists, including Ghahve-Kaneh and Sagha- Kane style painting. After the 70s, line drawing also paid attention to values of words and letters too, among them some conceptual artists, with the pursuit practical background of language make different representations from words and letters in their wo

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50

Coe, Ada. "From Surrealism to Snoorealism: the Theatre of Snoo Wilson." New Theatre Quarterly 5, no. 17 (1989): 73–85. http://dx.doi.org/10.1017/s0266464x00015359.

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Snoo Wilson has remained one of the most distinctive of those playwrights who emerged from the ‘generation of 1968’ – but unlike his collaborators in the early Portable Theatre, he has never been at home on the big stages of the establishment theatres. Sadly, this has also tended to deny him his proper share of critical and, indeed, audience attention: his highly allusive yet also highly elusive style has thus remained a specialized taste, and many of his plays have been denied even the dignity of publication. Accordingly, we accompany the following article by Ada Coe, in which she examines on

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