Relevant bibliographies by topics / Emotional allegory

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Emotional allegory'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Emotional allegory"

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Spencer, F. Scott. "Song of Songs as political satire and emotional refuge: Subverting Solomon’s gilded regime." Journal for the Study of the Old Testament 44, no. 4 (May 4, 2020): 667–92. http://dx.doi.org/10.1177/0309089219862820.

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This article proposes a viable reading of Song of Songs as historicized allegory and political satire. In this view, the Song co-opts royal imagery from Solomon’s past golden age to elevate the consummate value of an ordinary ‘country’ couple’s exuberant, mutual love as a model for flourishing, postexilic life. Put another way, this love ‘anthem’ extols ‘emotional refuge’ from exploitative monarchical rule, domestic or foreign. The argument is grounded in close analysis of Song 1-3 and 8.11-12 interlaced with biblical legal, historical, and prophetic critiques of Solomonic pride and greed, and informed by theoretical frameworks on politics, music, and emotion.
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Percec, Dana. "Subject or Object? The Anti-Hero of the Allegory and the Hero of the Anti-Allegory." Metacritic Journal for Comparative Studies and Theory 7, no. 1 (July 8, 2021): 177–89. http://dx.doi.org/10.24193/mjcst.2021.11.11.

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Referring to the British writers’ prompt reaction to the Brexit crisis, in developing what has already come to be known as BrexLit, Robert Eaglestone remarks the “cultural and emotional landscapes” created by such literary responses, which attempt to “humanize” major political dilemmas. Ali Smith, commenting on the same speed of writing books “pressed against the contemporaneous,” considers this as the result of history repeating itself with us failing to be aware of it, evidence of what we might call a community of unreliable remembers. The paper focuses on Ian McEwan’s 2019 The Cockroach, a novella offering a reversed Kafkaesque metamorphosis, a pretext to satirize Brexit and to meditate on how the antiheroic character caught in this allegorical transformation devolves from subject into object. I argue that this process of objectification (using Martha Nussbaum’s concept, derived from, but not limited to the feminist critique) contributes to the disembodiment and further relativization of memory.
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Barradas Jorge, Nuno. "Adaptation, Allegory and the Archive: Contextualising Epistolary Narratives in Contemporary Portuguese Cinema." Área Abierta 19, no. 3 (November 4, 2019): 419–38. http://dx.doi.org/10.5209/arab.65472.

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Epistolarity in cinema is commonly understood as a narrative device either fitting the so-called essay film, or resulting from filmic adaptation of literary works. A more nuanced understanding of the workings of this device is observed in films of disparate contemporary Portuguese filmmakers which adapt, rephrase and remediate letters. This article centres its attention on possible tendencies concerning epistolarity in this context, examining films that make use of the personal archive and epistolary voice, or that adapt letters to screen. It also examines filmic works that use the epistolary device to negotiate between emotional expression and historical materiality. Among others, this article discusses films such as Yama No Anata (Aya Koretzy, 2011), Correspondences (Rita Azevedo Gomes, 2016), Letters from War (Ivo M. Ferreira, 2016) and works directed by Pedro Costa and Miguel Gomes.
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Horwat, Jeff. "Too Subtle for Words: Doing Wordless Narrative Research." Art/Research International: A Transdisciplinary Journal 3, no. 2 (September 15, 2018): 172–95. http://dx.doi.org/10.18432/ari29378.

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Inspired by the wordless novels of early twentieth century Belgian artist Frans Masereel, this paper introduces wordless narrative research, a dynamic method of inquiry that uses visual storytelling to study, explore, and communicate personal narratives, cultural experiences, and emotional content too nuanced for language. While wordless narrative research can be useful for exploring a range of social phenomenon, it can be particularly valuable for exploring preverbal constructions of lived experiences, including trauma, repressed memories, and other forms of emotional knowledge often times only made accessible through affective or embodied modalities. This paper explores the epistemological claims of the method while describing five considerations for doing wordless narrative research. The paper concludes with a presentation of an excerpt of There is No (W)hole (Horwat, 2015), a surreal wordless autoethnographic allegory, as an example of wordless narrative research.
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LOCKEY, NICHOLAS. "ANTONIO VIVALDI AND THE SUBLIME SEASONS: SONORITY AND TEXTURE AS EXPRESSIVE DEVICES IN EARLY EIGHTEENTH-CENTURY ITALIAN MUSIC." Eighteenth Century Music 14, no. 2 (August 30, 2017): 265–83. http://dx.doi.org/10.1017/s1478570617000070.

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ABSTRACTAntonio Vivaldi's cycle of violin concertos dramatizing the four seasons marked a substantial shift in the way that the seasons were depicted in the arts. Moving away from religious and mythological allegory, they exemplify a growing interest in descriptive representation of nature's power and in humanity's complex physical and emotional relationship with elements beyond its control. Positing new connections to Arcadian reform ideals of verisimilitude, this article addresses important questions concerning Vivaldi's pairing of sonnets with concertos and the aesthetic factors behind his choice of narrative topics to depict in the music. The article also demonstrates how Vivaldi used diverse textures and sonorities to create powerful contrasts that heighten the emotional impact of the aural imagery while underlining recurring expressive and pictorial motifs throughout the cycle. These last aspects, in particular, provide a new understanding of the historical significance of Vivaldi'sFour Seasonsas a powerful demonstration of both the expressive potential of the concerto genre and the still underappreciated art of orchestration during the early eighteenth century.
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Smith, Laura. "The poetics of restoring Glen Canyon: the ‘desert imagination’ of Ellen Meloy and Terry Tempest Williams." cultural geographies 25, no. 4 (April 2, 2018): 603–18. http://dx.doi.org/10.1177/1474474018762813.

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There has been a literary tradition supporting the restoration of Glen Canyon in southern Utah ever since construction began on Glen Canyon Dam in the late 1950s, and the canyons began to disappear behind the rising waters of Lake Powell. While some of Glen Canyon’s literary protagonists put forward a strong political and anarchical refrain for a ‘Glen Canyon restored’, this article considers those writers and texts that instead look to the power of appeals to emotion in defense of the desert. In particular, this article considers the evocative capacity of environmental writing to convey emotional and affective landscapes. This article examines the desert writings of Ellen Meloy and Terry Tempest Williams, and the ways in which they employ rhetoric, myth, story, motifs, metaphor, symbolism, and allegory to speak back to the environmental condition, and the ongoing call to restore Glen Canyon. Meloy’s and Williams’ works present individual testimonies molded by personal engagement, experience, and investigation in the desert – but also contribute to ecological and political discourse in the Glen.
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Zien, Katherine. "Troubling Multiculturalisms: Staging Trans/National Identities in Teatro de Ciertos Habitantes's El gallo." Theatre Survey 55, no. 3 (August 18, 2014): 343–61. http://dx.doi.org/10.1017/s0040557414000350.

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The collaborative “antiopera” El gallo: Ópera para actores (The Cock: An Opera for Actors), which was produced from 2007 to 2009 by Mexican theatre company Teatro de Ciertos Habitantes (hereafter referred to as Ciertos Habitantes) and British composer Paul Alan Barker, toured for three years to dozens of venues in Mexico and abroad, garnering numerous awards and accruing more than a hundred performances. Performed in speech/song gibberish, El gallo mingles physical theatre and butoh techniques. The piece chronicles the making of an opera, from auditions through rehearsals and performance, alongside the emotional, physical, and vocal breakdowns of the five main characters and their beleaguered director. El gallo enacts an allegory of conflict-ridden community formation through the device of a play within a play.
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Pieldner, Judit. "From Paragone to Symbiosis. Sensations of In-Betweenness in Sally Potter’s The Tango Lesson." Acta Universitatis Sapientiae, Film and Media Studies 17, no. 1 (October 1, 2019): 23–44. http://dx.doi.org/10.2478/ausfm-2019-0013.

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Abstract Sally Potter’s The Tango Lesson (1997), an homage to the Argentine tango, situated in-between autobiography and fiction, creates multiple passages between art and life, the corporeal and the spiritual, emotional involvement and professional detachment. The romance story of filmmaker Sally Potter and dancer Pablo Verón is also readable as an allegory of interart relations, a dialogue of the gaze and the image, a process evolving from paragone to symbiosis. Relying on the strategies of dancefilm elaborated by Erin Brannigan (2011), the paper examines the intermedial relationship between film and dance in their cine-choreographic entanglement. Across scenes overflowing with passion, the film’s haptic imagery is reinforced by the black-and-white photographic image and culminates in a tableau moment that foregrounds the manifold sensations of in-betweenness and feeling of “otherness” that the protagonists experience, caught in-between languages, cultures, and arts.1
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Volkova, Maryna. "SOME PECULIARITIES OF S. LEACOCK’S SHORT-STORY «THE MAN IN ASBESTOS: AN ALLEGORY OF THE FUTURE» TRANSLATION INTO UKRAINIAN." English and American Studies 1, no. 17 (December 22, 2020): 68–73. http://dx.doi.org/10.15421/382012.

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The role of S. Leacock as a representative of English-Canadian literature and peculiarities of his creative works are given in the article. The peculiarities of the literary translation which aim is to reflect ideas, feelings transforming the author’s images with the help of another language material, the main features that make it different from a classical one were stated. The scholars who scrutinize the problems of a literary text translation in the contemporary linguistics was found out. The differences between the original text of S. Leacock’s short-story «The Man in Asbestos: an Allegory of the Future» and the text of translation and its translation by A. Yevsa were analyzed in the article. The translation can be called adequate as some change of content of the original text by the target language means did not impact into general perception of the short-story in its translation. The translator conveys the author’s ideas provoking reader’s reaction to the story. A. Yevsa preserved its content, the system of images and the author’s style, emotional atmosphere and plot identity of the original text and the choice of linguo-stylistic devices used in the original text. General peculiarities of the translation into Ukrainian, main grammar and lexical transformations used by A. Yevsa were marked, among which are generalization, concretization, compensation, semantic development and combination of sentences prevail.
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Sidiropoulou, Avra. "Staging Henrik Ibsen’s and Jon Fosse’s Mental Landscapes." Nordic Theatre Studies 30, no. 1 (August 2, 2018): 184–203. http://dx.doi.org/10.7146/nts.v30i1.106929.

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Norway’s best-known contemporary playwright Jon Fosse has often been compared to Henrik Ibsen, no less because of the two dramatists’ common emphasis on their native physical landscape as a mirror of the protagonists’ emotional and existential conflict. In Ibsen’s The Lady from the Sea (1888) and in Fosse’s Someone is Going to Come (1996) in particular, characters and actions – although generated within specific geographical and cultural co-ordinates – rise to the level of archetypes and acquire timeless significance.This comparative study traces a continuum from the modernist Ibsen to Fosse’s humanistic postmodernism in so far as the authors’ treatment of psychology, structure, and landscape exposes ideas and endorses themes and images, which in turn account for similar patterns of staging. In a context whereby myth and allegory are projected against a background defined by the ocean and unfamiliar horizons, the markedly schematic representation of existential dread in both plays reveals strong visual conceits that are uncannily similar to the effect that one cannot really read or direct Fosse without making a mental note of Ibsen’s drama. The “haunted” nature of the spectator’s experience notwithstanding, both texts seem to be a director’s ideal material, hosting the natural environment so intensely so that it becomes an extension of the characters, punctuating the important stations in their lives and adding emotional and sensory texture to their words and their actions. From the point-of-view of a theatre director, decoding the plays’ imagistic identity becomes primarily an immersive experience in the Nordic landscape – of both nature and the mind.
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Dissertations / Theses on the topic "Emotional allegory"

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YEH, SHIH-HSIEN, and 葉士賢. "The Time Allegory under Emotional Mechanical Operation." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/f9cu66.

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碩士
國立臺北藝術大學
美術學系碩士在職專班
105
Abstract Began in college, my art creation had mostly been realism paintings filled with inspirations drawn from the simplicity of everyday people, my friends, and myself. After being challenged to study more on contemporary arts during my graduate school times, I started to try using different mediums to paint, and to express the relationships between me and time and others, our existence, and our destinations. Among several series，the method of ‘repetition’, ‘overlapping’ and ‘stacking’ had become a trend of mine. They all implies the motion of “Time” and I used them to tell a process related to the chosen topics in this project. I chose the theme, “Sentimental Times in Mechanics”, to wrap up my deep feelings towards our controlled lives ever since the Industrial Revolution. In the three years studying at TNUA, my painting style has transformed from the earlier realism to the simpler line-based idealism with more abstract potentials. My thesis includes 3 series including the ‘Unrecognized Identification’, ‘Monochromatic’ and ‘QR Codes’. The Unrecognized Identification tries to recreate nostalgic historical parts with overlapping simplified portraits chronologically to inspire viewer’s nostalgic memories. In the Monochromatic Painting series, I covered different symbols on top of a recognizable picture in a repetitive way that eventually, the picture is lost within that painting, all that’s left is a single-colored view. This series was intended to let the viewer think about the limits and idea between the original picture & the end product. The QR Code is the newest addition stemmed from the first Unrecognized Identification series. It was created as a way out from the continuous self-doubt within the Unrecognized Identification, as well as a process going into abstract creation with some technology elements. In the following, there will be three sections dedicated to explore these three individual series, and how they came to be my identification.
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Castanheira, Amandio G. "Mortalities Immortality." Diss., 2003. http://hdl.handle.net/2263/29856.

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The purpose of this document is to explore the domain by which architecture can be interpreted through symbolism and emotional allegory. It deals with the notion that a building can become a vocabulary of historical references, and the product of many cultures through epochs of history, alien to one another but come together by manipulating elements within the architecture.
Dissertation (MArch (Prof))--University of Pretoria, 2004.
Architecture
unrestricted
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Books on the topic "Emotional allegory"

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1594?-1665, Poussin Nicolas, ed. Modus--Affekt--Allegorie bei Nicolas Poussin: Emotionen in der Malerei des 17. Jahrhunderts. Berlin: Reimer, 2007.

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Simon, Sidney B. I Am Loveable and Capable: A Modern Allegory on the Classical Put-Down. Values Press, 1990.

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Aguirre, Mercedes, and Richard Buxton. Cyclops. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198713777.001.0001.

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This book provides an innovative, authoritative, and richly illustrated study of the myths relating to the Cyclopes from classical antiquity until the present day. It is the first such book-length study of the topic in any language. The first part, dealing with classical antiquity, is organized thematically: after discussing various competing scholarly approaches to the myths, Aguirre and Buxton analyse ancient accounts and images of the Cyclopes in relation to landscape, physique (especially eyes, monstrosity, and hairiness), lifestyle, gods, names, love, and song. While the man-eating Cyclops Polyphemus, famous already in the Odyssey, plays a major part, so also do the Cyclopes who did monumental building work, as well as those who toiled as blacksmiths. The second part of the book concentrates on the post-classical reception of the myths. Topics discussed include medieval allegory, Renaissance grottoes, Italian and Spanish poetry, Spanish drama, and the novels of Hugo, Joyce, and Ellison; in the visual arts, dozens of images are examined, beginning with the medieval and early modern periods, moving on to Surrealism and Abstract Impressionism, and ending with contemporary painting and sculpture. Movie Cyclopes also appear, as does a wonderful circus performance. The overall aim of the authors is to explore, not just the perennial appeal of the Cyclopes as fearsome monsters, but the depth and subtlety of their mythology, which raises complex issues of thought and emotion. All too often, a Cyclops is assumed to be nothing more than a gruesome one-eyed monster. This book seeks to demonstrate that there is far more to it than that—quite apart from the fact that Cyclopes are by no means always one-eyed!
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1934-, Brown J. Carter, Montagu Jennifer, Shapiro Michael Edward, and High Museum of Art, eds. Rings: Five passions in world art. New York: Harry N. Abrams, Inc., Publishers, in association with the High Museum of Art, 1996.

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High Museum of Art (Corporate Author), J. Carter Brown (Editor), Jennifer Montagu (Editor), and Michael Edward Shapiro (Editor), eds. Rings: Five Passions in World Art. Harry N Abrams, 1996.

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(Editor), J. Carter Brown, and Michael Edward Shapiro (Editor), eds. Rings: Five Passions in World Art. Harry N Abrams, 1996.

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Book chapters on the topic "Emotional allegory"

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Fox, Cora. "Ovidian Emotion and Allegory in the Faerie Queene." In Ovid and the Politics of Emotion in Elizabethan England, 59–104. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230101654_3.

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Milanko, Andrea. "Politika istine u Izvanbrodskom dnevniku Slobodana Novaka." In Periferno u hrvatskoj književnosti i kulturi / Peryferie w chorwackiej literaturze i kulturze, 77–91. University of Silesia Press, 2021. http://dx.doi.org/10.31261/pn.4028.07.

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This paper analyzes the novel Three Journeys (Izvanbrodski dnevnik) by Slobodan Novak, in terms of its narrative structure and literary devices that are being used to disfigure the speech produced by centres of power in both everyday and official communication. As opposed to political allegory, to which the novel has been linked so far, it is argued that a complex narrative structure and stylistically carefully crafted storytelling point to self-referentiality of the novel. The story of Magistar is framed by Magistar’s writing of manipulative techniques used by other characters against him. Writing is a successful resistance practice to manipulation of perception because it exposes the unspoken assumptions of the latter, as well as it reveals mechanisms of emotional abuse. The novel is read as a place of freedom from a one-sided interpretation referencing the political state in former Yugoslavia, demonstrating by its structure that freedom in literature is in fact entitlement of literature to be free of any type of instrumentalization.
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Westwood, Emma. "‘I’ll hurt you if you stay.’ The Fly scene-by-scene: Act Two." In The Fly, 87–96. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325420.003.0007.

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This chapter describes the scenes of Act Two of David Cronenberg's The Fly (1986). In Act Two, Seth Brundle makes the transition from amiable and reclusive scientist to predatory and misogynistic Brundlefly — a seamless character transition that creeps up on the audience through Cronenberg's screenplay and direction, and Jeff Goldblum's subtle yet defined performance. As the Brundlefly persona comes to the fore, the audience still sympathises with the overtly animalistic, egregious person he has become. They know this is not the real Seth; it is the corruption of Seth at a cellular level. Cronenberg's patented brand of body horror is coming into its own right here with Seth finally admitting to himself that something is wrong. He questions whether he is dying, and if this is what dying is like, which directly references Cronenberg's own explanation of the film: that it is an allegory for our mortality as human beings and the natural processes that lead to old age and death. It is by way of the computer that he discovers his DNA has fused with a fly — the vital ‘reveal’ — in a cinematic moment common to many great science-fiction films where pivotal information of emotional resonance is not communicated between human beings but between human and machine.
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"Allegro moderato – Adagio. Fürchte deinen Nächsten wie dich selbst!" In Nachbarschaft, Räume, Emotionen, 31–62. transcript-Verlag, 2011. http://dx.doi.org/10.14361/transcript.9783839416532.31.

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Vanhaelen, Angela. "Turnings: Motion and Emotion in the Labyrinths of Early Modern Amsterdam." In Performing Conversion, 35–61. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474482721.003.0003.

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Amsterdam’s Doolhoven, or labyrinths, constituted recreational spaces that also forged a strong connection between theatricality and a secular conversional experience by drawing on the idea of the labyrinth as an allegory for progression toward spiritual transformation. The chapter explores both the performative and philosophical components of these early modern labyrinths and the deeper meaning of their many ludic tricks.
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Ahmed, Omar. "American Jesus." In RoboCop, 77–96. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325253.003.0005.

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This chapter assesses the portrayal of the cyborg in Paul Verhoeven's RoboCop (1987). RoboCop was part of the cycle of 1980 films in which the cyborg was consolidated as a genuinely ambivalent iconographic motif of science-fiction cinema. In many ways, it is the complicated experience of emotion and memory that defines the ubiquity of the cyborg in science-fiction cinema. The chapter then considers the ‘transmigration’ theory of Robotics professor Hans Moravec, who helped pioneer the development of Artificial Intelligence (A.I.). It also discusses religious, philosophical, and mythological dimensions, chiefly the potential of reading the film as an allegory of Christ. Whereas the Christ parable is nothing innovative to the way Hollywood heroism can be read, what makes RoboCop's Christian allegory markedly distinctive is that it takes places in the context of the science-fiction-cyborg-film sub-genre.
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"Allegory and Affective Experience in Thomas Sailly, S.J.’s Thesaurus precum et exercitiorum spiritualium of 1609." In Emotions, Art, and Christianity in the Transatlantic World, 1450–1800, 71–125. BRILL, 2021. http://dx.doi.org/10.1163/9789004464681_004.

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Jaaware, Aniket. "Touch and Its Elements and Kinds." In Practicing Caste, 11–36. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823282265.003.0002.

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This chapter discusses touch and its elements and kinds. A fundamental characteristic of the sense of touch is its materiality. Apart from whatever advantages there might be in the metaphorical meaning of materiality, the chapter is equally interested in the more physical meaning of materiality. From this point of view, it becomes essential to define clearly the physical elements of touch. The four major physical elements of the sense of touch are inertia, density, reality, and contact. Meanwhile, the nonphysical elements of the sense of touch are repetition and attention; emotion; sociality; and intimacy/proximity. The chapter then considers the kinds of touch. The literal meanings of touch are clearly discernible when one touches something in order to touch that thing. Of the figural meanings, three are clearly the most frequent: metonymy, allegory, and metaphor.
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Morgan, Iwan. "John Ford’s Young Mr. Lincoln: A Popular Front Hero for the Late 1930s." In Hollywood and the Great Depression. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748699926.003.0014.

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This chapter locates John Ford’s 1939 movie, Young Mr Lincoln, in relation to his contemporary involvement with the Hollywood Popular Front collaboration of liberals and communists in support of social justice at home and anti-fascism abroad. Like many of the director’s film, it can be viewed at different levels in its exploration of history and myth, but Popular Front sentiments are fundamental to its holistic understanding. Its fictional representation of a youthful Abraham Lincoln’s successful defence of two brothers wrongly placed on a murder charge in 1837 Illinois is an allegory for current concerns. Ford’s presentation of him as a common man capable of greatness, concerned to ensure social justice for the oppressed, identifying emotionally with ordinary people without losing sight of their shortcomings, and possessing a strong sense of right and wrong resonated with the cause of American progressivism at home and abroad in this troubled era.
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