Gotowa bibliografia na temat „Anagogical sense”

Abstract This chapter begins this study’s effort to sketch a hermeneutics of tradition. As we have seen, the four senses of scripture-the literal. the allegorical. the moral, and the anagogical-had a long history in medieval exegetical theory and practice. The senses of tradition expounded here and in the Following chapters are fourfold as well. That consistency in number with the medieval interpretive schema, however, should not suggest a parallel between the content of all four classical senses of scripture and that of the interpretive senses of tradition proposed herein. “Development-in-continuity,” “dramatic development,” and “incipient development,” the interpretive senses of tradition to be elucidated in the following chapters, do not correspond directly to the ancient interpretive senses of scripture: the allegorical, the tropological. and the anagogical. respectively. The first interpretive sense of tradition and the first interpretive sense of scripture do, nevertheless, resemble each other in their shared commitment to a stable meaning connected closely with the “letter” of tradition or the “letter” of scripture. To the degree that both scripture and tradition present their teaching in writing, they possess a literal sense that acts as a gravitational field for the other interpretive senses. Whether some of the other interpretive senses are attracted inexorably to the literal sense’s center of gravity or ardently resist its pull, they all nonetheless fall within the sphere of its influence. The literal sense of tradition is the concern of this chapter.

The article focuses on Vyacheslav Ivanov’s poetical, critical-philosophical and epistolary writings. They are viewed in the context of palimpsest — the concept that is present in the poet’s discourse (paraphrased citation from his poem appears in the title of the article). Methodological orientation of my study corresponds to its primary objective, which is interpretation of the multilevel and multilayered semantic structure of Ivanov’s text and shedding light on its Augustine layer, which is present both overtly and covertly. I approach this task referring to the principles of medieval aesthetics and philosophy (anagogical sense, ontological and axiological hierarchism, elevation of the reader’s/onlooker’s soul). My aim is to look into Augustinianism understood as “doctrine of life”, into its perception by Ivanov and representatives of European intellectual élite, and its role in preserving Christian thesaurus. I examine Ivanov’s conceptual models: his concept of will (man’s will — good and evil, and Higher will), its interrelation with the notion of happiness, and the concept of Truth and lie. I show the ways in which they are present and get “hyperbolically transformed” in Ivanov’s texts of the symbolist and post-symbolist periods. I have a closer look at the meaning of the category of transcensus and seeking one’s true self, “serving the Spirit”, echoes of conversion theology, the presence of triad figures in epistolary admonitions and others.

Abstract Abstract: The Middle Ages was a key period for biblical exegesis, through the activities of writers in monasteries, schools, and universities. This chapter lists the sources in which hermeneutic activity is present, including treatises, biblical commentaries, prologues, and principia. The principles of exegesis are then considered, bringing together the concept of the Aristotelian cause with the divine inspiration of Scripture. The limitations of human understanding are emphasized both by Christian and Jewish commentators. Different forms of glossa and the Sentences of Peter Lombard also contributed to exegesis. Despite the traditional emphasis on the four senses of Scripture (literal, allegorical, tropological, and anagogical) and their appearance in theoretical treatises, their practical application is strictly limited. Instead, the principal opposition was between the categories of literal and spiritual, with each broken down into specific elements. Techniques of spiritual interpretation include the procedures of concordant verses, distinctiones, interpretationes, and the significance of “realities” (res), with a role also being played by “modes” (modi).

In her 1938–1942 Reading Notebook, Marianne Moore was taken with a distinction made by W. H. Auden between a poem’s “immediate meaning and possible meaning.” By considering the critical context in which Moore was writing, this paper argues that Moore understood this distinction to mark the boundary between poetry and theology where an anagogic mode of reading and writing comes into play and where eschatological poets such as Dante, Milton, and Blake worked. This reading deepens our sense of Moore’s relationship to the visionary tradition with which she affiliated herself by considering her reading of Rilke and Herbert as poets of “possible meaning” and tracing her extension of that literary concept to her reading and translation of the fables of Jean de La Fontaine and her 1943 reading of Hölderlin’s poetry.

The article deals with the principles of creating the Anglo-Saxon Christian epic and is based on the Old English poem Exodus. Consecutive analysis of the history of reception and interpretation of the biblical text allows to reproduce the tradition of commenting and studying the text of the Scripture, known to the Anglo-Saxons. The poetics of Christian epic is viewed on the main components of the epic text (beginning of the text, epic variation, retardation, description of the battle, composition of the text as a whole). These constituent parts of the text are analysed from the point of view of their semantics and the associations with the tradition of the interpretation of the biblical plots. Preserving the multiple senses inherent to the epic text, the Christian epic gains additional senses, connected with the tradition of allegorical interpretation of the Bible. The orientation of the basic stylistic devices to allegoreza i. e. urging the reader to use the main types of allegorical interpretation (typological, anagogic, allegorical) is significant for the text. Most of the analysed passages would remain unclear without it. The stylistic devices have enlarged their functions: the beginning of the text attracted the attention to understanding the Old Testament in the context of the New one, epic variation served not only the repetitive nomination of the object but also to show their allegorical meanings, digression allowed to include typological parallels.