Journal articles on the topic 'Allegoria moderna'
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Crisp, Peter. "The Pilgrim’s Progress: Allegory or novel?" Language and Literature: International Journal of Stylistics 21, no. 4 (November 2012): 328–44. http://dx.doi.org/10.1177/0963947012444953.
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A tradition going back to Coleridge asserts that The Pilgrim’s Progress is not a true allegory but rather a proto-novel expressive of early modern individualism. The work is radically individualistic, but it is also truly an allegory. Recent research has emphasized how closely related metaphor often is to metonymy and how intimately the two can interact to produce metaphtonymy. This interaction is just as important in allegory as in purely linguistic metaphor and metonymy. The Pilgrim’s Progress makes subtle use of conceptual metaphtonymy to express its individualism. Although the degree of individualism these cognitive structures express is greater than anything in earlier allegorical tradition, the structures themselves are inherited from medieval allegories such as Everyman. This sharing of major cognitive structure with earlier medieval allegories shows that The Pilgrim’s Progress is truly an allegory. An area in which the interaction of metaphor and metonymy is particularly notable is that of blending. The occurrence of highly creative blending in at least some of its scenes is further evidence for the truly allegoric nature of The Pilgrim’s Progress.
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Campbell, Julie. "Allegories of Clarity and Obscurity: Bunyan's and Beckett's." Samuel Beckett Today / Aujourd'hui 24, no. 1 (December 1, 2012): 89–103. http://dx.doi.org/10.1163/18757405-024001006.
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This article explores the ways in which Beckett's can be considered a modern allegory that both uses and confuses the methods of traditional allegory. John Bunyan, in , was able to depend upon his readers' knowledge of the Bible to decode the allegorical nature of the tale of Christian and his endeavours to overcome sinfulness and reach heaven. This discussion is concerned with the way Beckett redefines the allegoric mode in , simultaneously encouraging and thwarting the reader's interpretive activity, and the ways in which the allusions to Bunyan's text play a part in this process.
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Orgad, Zvi. "Prey of Pray: Allegorizing the Liturgical Practice." Arts 9, no. 1 (December 30, 2019): 3. http://dx.doi.org/10.3390/arts9010003.
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Numerous images embedded in the painted decorations in early modern Central and Eastern European synagogues conveyed allegorical messages to the congregation. The symbolism was derived from biblical verses, stories, legends, and prayers, and sometimes different allegories were combined to develop coherent stories. In the present case study, which concerns a bird, seemingly a nocturnal raptor, depicted on the ceiling of the Unterlimpurg Synagogue, I explore the symbolism of this image in the contexts of liturgy, eschatology, and folklore. I undertake a comparative analysis of paintings in medieval and early modern illuminated manuscripts—both Christian and Jewish—and in synagogues in both Eastern and Central Europe. I argue that in some Hebrew illuminated manuscripts and synagogue paintings, nocturnal birds of prey may have been positive representations of the Jewish people, rather than simply a response to their negative image in Christian literature and art, but also a symbol of redemption. In the Unterlimpurg Synagogue, the night bird of prey, combined with other symbolic elements, represented a complex allegoric picture of redemption, possibly implying the image of King David and the kabbalistic nighttime prayer Tikkun Ḥaẓot. This case study demonstrates the way in which early modern synagogue painters created allegoric paintings that captured contemporary religious and mystical ideas and liturgical developments.
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Maskarinec, Malika. "Allegory and Analogy in Menzel’s The Iron Rolling Mill." Zeitschrift für Kunstgeschichte 84, no. 1 (March 1, 2021): 58–77. http://dx.doi.org/10.1515/zkg-2021-1003.
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Abstract Adolph Menzel’s Das Eisenwalzwerk, or Moderne Cyklopen (The Iron Rolling Mill, or Modern Cyclopes) from 1875 depicts an analogy central to nineteenth- century thought, namely, that between the human motor and the combustion engine. The painting visualizes the differing rhythms of these two “machines” and the entropy produced as a result of that difference. The painting’s reflection on labor also elaborates an allegory of the activity of painting. Such an allegorical reading, motivated by particular attention to the objects placed in the painting’s foreground, entails a reevaluation of Menzel’s self-understanding and of the changing nature of allegory in nineteenth- century painting. In this instance, allegory operates not through identification but by means of analogy.
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Ackerman, Alan. "The Prompter’s Box: Modern Drama’s Allegories of Allegory." Modern Drama 49, no. 2 (May 2006): 1–8. http://dx.doi.org/10.3138/md.49.2.1.
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Ackerman, Alan. "The Prompter’s Box: Modern Drama’s Allegories of Allegory." Modern Drama 49, no. 2 (May 2006): 147–54. http://dx.doi.org/10.3138/md.49.2.147.
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Ackerman, Alan L. (Alan Louis). "The Prompter's Box: Modern Drama's Allegories of Allegory." Modern Drama 49, no. 2 (2006): 147–54. http://dx.doi.org/10.1353/mdr.2006.0058.
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Grillo, Jennie. "The Envelope and the Halo: Reading Susanna Allegorically." Interpretation: A Journal of Bible and Theology 72, no. 4 (September 13, 2018): 408–17. http://dx.doi.org/10.1177/0020964318784242.
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The tale of Susanna in the Greek versions of the book of Daniel has its roots in allegorical readings of Hebrew Scripture, and the church has read the story of Susanna both as an allegory of the church and of Christ. The allegorical treatment of Susanna as the church is the most acceptable to modern criticism, since it preserves the narrative coherence of the book; but the more fragmentary, piecemeal allegory of Susanna as Christ was compelling in antiquity, especially in visual interpretations. This essay explores how allegorical readings of Susanna as a Christ figure capture an essential part of the reader’s visual, non-sequential experience of the text and provides a satisfying and meaningful image for Christians.
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Brenner, Athalya. "To See Is To Assume: Whose Love Is Celebrated in the Song of Songs?1." Biblical Interpretation 1, no. 3 (1993): 265–84. http://dx.doi.org/10.1163/156851593x00160.
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AbstractThree characteristic features of the Song of Songs are its (a) disjointed or absent plot, (b) gynocentrism and (c) lack of theocentrism. Recognition of these features facilitates a reassessment of the book's allegorical readings, be they ancient or modern, Jewish or Christian, religious or ostensibly secular. The principal readings discussed are Rabin's reconsideration of the Song's intrinsic allegorical properties with reference to Tamil love poetry; M. Cohen's on the Song and Jewish mystical literature (the Shiur Qomah and Hekhalot Rabbati); Murphy's position of reading mutually reflected human love and divine love in the Song; Pope's identification of the Song's assumed, single female protagonist as a black goddess; and Fox's rejection of allegory because of his definitions of metaphor, metaphoric distance and meaning. In conclusion, some reflections on the (ancillary) development of the Jewish allegorical tradition and its links with the Song's cannonization are offered.
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Russell, Jesse. "The bear myth in Edmund Spenser’s Faerie Queene." Reinardus / Yearbook of the International Reynard Society 31 (December 31, 2019): 115–34. http://dx.doi.org/10.1075/rein.00028.rus.
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Abstract The animals in Edmund Spenser’s Faerie Queene have been skillfully treated as allegories, but these creatures also deserve a look from a mythological perspective. Perhaps the most important animal to begin with is the bear, which French historian Michel Pastoureau recently has explored in his monumental, The Bear: History of a Fallen King. Using many of Pastoureau’s insights (and criticizing others), we can make room for an analysis of The Faerie Queene as a text in which pre-modern and even ‘prehistorical’ images of bears meet with Early Modern views of the noble creature, demonstrating that, despite Spenser’s allegorical tendencies, the bears in The Faerie Queene still speak.
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Gwóźdź-Szewczenko, Ilona. "Od emblematycznej alegorii do symbolicznej hypotypozy — z przemian obrazowania śmierci w liryce czeskiej końca XIX wieku." Slavica Wratislaviensia 168 (April 18, 2019): 263–74. http://dx.doi.org/10.19195/0137-1150.168.22.
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From emblematic allegory to symbolic hypotyposis: On the changes of depicting death in Czech poetry at the close of the 19th centuryThe paper is devoted to the analysis of depictions of death in Czech poetry created at the end of the 19th century. The author starts her deliberations from the poetry of the 1890s which was created in the spirit of realism. Then, she moves on to the deliberations about modernist poetry which — in this paper — is not considered as a homogenous whole. Starting from decadence, chronologically the earliest, through impressionism to mature modernism manifesting itself in symbolism, the author analyses the manners of depicting death and the figures of speech, pointing to the transition of portraying death from the emblematic and allegoric images of death to the symbolic hypotyposis. The author stresses the deconstruction of the traditional topos in modernism. This deconstruction involved a lack of references to an established set of images and thus to this linguistic ritual which had been active for ages. The Grim Reaper with a scythe could no longer be a simple symbol of death. In the times of modernism, poetry finally freed itself from those types of allegoric depictions. The deconstruction of the topos in its basic frameworks and in the most traditional ritualised formula forced poets to look for their individual languages, to create symbols which would not repeat the conventionalised allegories. Od emblematické alegorie k symbolické hypotypóze — proměny zobrazovánί smrti v české lyrice na sklonu 19. stoletíČlánek je věnován analýze zobrazování smrti v české poezii na sklonku 19. století. Autorka své úvahy otevírá poezií 80. let, která vznikala v duchu realismu, a následně přechází k pojednání o modernistické poezii, jíž však nevnímá jako monolitickou. Autorka chronologicky od nejranější dekadence, přes impresionismus až ke zralé moderně vyjadřující se symbolisticky analyzuje způsoby prezentace smrti a slovní figury poukazující na přechod od emblematicko-alegorických obrazů smrti k symbolickým hypotypózám v zobrazování smrti. Autorka ukazuje rozpad tradiční topiky v moderně, což s sebou nese skutečnost, že se básníci neodvolávají na ustálený soubor obrazů, tedy k takovému jazykovému uchopení, jež bylo po staletí živé. Smrtka s kosou již nemohla představovat jednoduchý symbol smrti. V době modernismu se poezie osvobozuje od tohoto druhu alegorických obrazů. Rozpad topiky v jejich základních rysech a jejích nejtradičnějších a ritualizovaných postav vybízel básníky k hledání individuálního jazyka, k vytváření takových symbolů, které nenásledovaly konvenční alegorii.
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Esterson, Rebecca. "Allegory and Religious Pluralism: Biblical Interpretation in the Eighteenth Century." Journal of the Bible and its Reception 5, no. 2 (October 25, 2018): 111–39. http://dx.doi.org/10.1515/jbr-2018-0001.
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AbstractThe Christian discourse of the literal and spiritual senses in the Bible was, in the long eighteenth century, no less tied to perceptions of Jewish interpretive abilities than it had been previously. However, rather than linking Jews with literalism, in many cases the early modern version of this discourse associated Jews with allegory. By touching upon three moments in the reception history of the Bible in the eighteenth century, this article exhibits the entanglement of religious identity and biblical allegory characteristic of this context. The English Newtonian, William Whiston, fervently resisted allegorical interpretations of the Bible in favor of scientific and literal explanations, and blamed Jewish manuscript corruption for any confusion of meaning. Johan Kemper was a convert whose recruitment to Uppsala University reveals an appetite on the part of university and governmental authorities for rabbinic and kabbalistic interpretive methods and their application to Christian texts. Finally, the German Jewish intellectual Moses Mendelssohn responded to challenges facing the Jewish community by combining traditional rabbinic approaches and early modern philosophy in defense of a multivocal reading of biblical texts. Furthermore, Mendelssohn’s insistence on the particularity of biblical symbols, that they are not universally accessible, informed his vision for religious pluralism. Each of these figures illuminates not only the thorny plight of biblical allegory in modernity, but also the ever-present barriers and passageways between Judaism and Christianity as they manifested during the European Enlightenment.
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Schmale, Wolfgang. "Critical Note: Representations of the continents by means of allegorical figures in the early modern period. (Bodies and Maps: Early Modern Personifications of the Continents, edited by Maryanne Cline Horowitz and Louise Arizzoli, Brill, Leiden 2020)." Diciottesimo Secolo 7 (November 18, 2022): 147–52. http://dx.doi.org/10.36253/ds-13179.
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In the early modern period, the representation of the continents by means of allegorical figures enjoyed great popularity. The book Bodies and Maps: Early Modern Personifications of the Continents, edited by Maryanne Cline Horowitz and Louise Arizzoli, is very stimulating, richly documented and fundamental with regard to the detailed source-critical examination of concrete individual visualisations of the continents. The focus of the book rather lies with the 16th century, while part 5 focuses on the 18th century. In the 18th century, continent allegories entered into the public sphere and reached broader strata in the society. In this century, Eurocentrism progressed considerably, but did not invent it. The volume’s co-authors pose the question of Eurocentrism as well as that of racism with regard to the late Middle Ages and the 16th century. Because of their widespread use, continent allegories can be counted among the most important primary sources from which we can draw conclusions about how extra-European cultures could be represented, interpreted and viewed from a European perspective. They represent much more than just an art-historical source, they are, especially when one thinks of their accessibility in public spaces for everyone, actually a historical source of the first rank, behind which not least travelogues and theoretical concepts such as the history of civilisation as a universal history compete with the Christian history of salvation in the Bible.
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Shavulev, Georgi. "Some Remarks on Musical Symbolism of Philo’s Hermeneutics in “De Posteritate Caini”." OPEN JOURNAL FOR STUDIES IN PHILOSOPHY 5, no. 2 (December 31, 2021): 63–72. http://dx.doi.org/10.32591/coas.ojsp.0502.03063s.
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Philo of Alexandria can hardly be called a philosopher, especially given a certain speculative or systematic philosophy. But also, contrary to the prevailing opinion in contemporary research, it could hardly be defined as an exegete, especially given the modern content of the term. At the same time, the impression remains that the most often associated concept with his name – allegory (allegorical interpretation) is usually perceived too narrowly, and not enough attention is paid to the actual literary and hermeneutical skills of the author. Modern translations of his works often do not reflect the symbolism used by Philo at all, as is the case with music imagery in the opening paragraph of De Posteritate Caini. The musical theme and symbolism in Philo's work undoubtedly deserve a special and thorough study, which would go far beyond the scope of this article.
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Thomas, Alan. "Howard Barker: Modern Allegorist." Modern Drama 35, no. 3 (September 1992): 433–43. http://dx.doi.org/10.3138/md.35.3.433.
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Oppitz-Trotman, George. "Staging Vice and Acting Evil: Theatre and Anti-Theatre in Early Modern England." Studies in Church History 48 (2012): 156–69. http://dx.doi.org/10.1017/s0424208400001297.
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This article revisits the relationship between dramatic production and religious change in the sixteenth century, specifically by examining the allegorical Vice figure - a dramatic embodiment of evil forces - that came to particular prominence during this period. It suggests that the professional actor became increasingly associated with this figure of moral evil. I propose also that understanding the moral ambivalence of the actor’s presence can inform our understanding of many plays in which no obviously coherent Vice figure is present, but in which possibilities of such an allegory are important. It would be impractical to present this argument across the range of dramatic examples it deserves, particularly since substantial contextual argument will be necessary if the article’s conclusions are to have any weight. It is partly for this reason that an examination of Shakespeare’s Hamlet concludes the paper, a play needing no introduction. It will be suggested that the play’s issue of conscience was mediated in important ways by the actor’s potentially Vice-like presence, defined as such by Tudor legislation as well as by a variety of anti-theatrical religious writings.
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Naduda, Nataliya Vladimirovna. "National character in the allegorical prose of M. Tarkovsky and A. Bushkovsky." Litera, no. 12 (December 2021): 120–27. http://dx.doi.org/10.25136/2409-8698.2021.12.34830.
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This article analyzes the Russian national character as the main theme in the works of M. Tarkovsky and A. Bushkovsky. The criteria for selecting the research material is the date of publication (2019) and the presence of an allegorical plot, which depicts the traditionalism, spirituality, controversy, and at the same time holism, sense of humor, and depth of national character. The author views national character as the foundation of artistic world in the allegorical prose; as well as gives characteristics to the key motifs, such as faith, labor, challenges, antagonism of the alien, unfamiliar to a Russian person. The article employs the systemic-holistic approach towards revealing the typological features of the modern traditionalist prose by M. Tarkovsky and A. Bushkovsky. The research is based on the comparativism, which allows determining the common trends and uniqueness of both authors. The article identifies the invariant constructions and images (portrait, landscape, detail, language). The elements of biographical method are used for correlating the hero with personal experience and worldview of the author. The structural-semantic method allows focusing on the aesthetic object, revealing the semantic meaning of methods used by the writers to create the image. Hermeneutics characterizes the allegory and symbol as fundamental means of expressing the authorial intentions, which reflect the ideological and aesthetic changes in the literary system. This article is first to analyze the literary texts of modern authors from the perspective of ethnopoetics.
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Biddle, Mark E. "Christian interpretation of Esther before the Reformation." Review & Expositor 118, no. 2 (May 2021): 149–60. http://dx.doi.org/10.1177/00346373211024130.
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This contribution to Review & Expositor’ s issue on “Esther as Christian Scripture” surveys Esther scholarship before the Reformation with a view to identifying trends and with particular interest in the degree of any continuity that may bridge the Reformation as a point of demarcation. Contrary to what might be expected, this brief survey of the history of Christian Esther interpretation before the Reformation demonstrates that many of the issues confronting contemporary Esther scholarship surfaced in some form prior to the rise of modern critical scholarship (historicity, genre, gender relations, theological significance, etc.). A focus on the hebraica veritas after Jerome influenced Christian interpretation of the book down the path of allegory. Apparently pioneered by Aphrahat, Rhabanus Maurus gave the allegorical reading of Esther a form that became virtually standard in the half-millennium prior to the Reformation. In it, the allegorical significance of Ahasuerus (Jesus), Vashti (Jewry), Esther (the Church, Mary), and a number of details remained constant. The following two features of Esther interpretation surveyed here stand out negatively: the entire absence of concern for the book’s violence and the perverse but persistent interpretation of a book celebrating the deliverance of Jews in a supersessionist, even anti-Semitic, fashion.
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shaldehi, Ahmad hedayatpanah, Marziyeh hedayatpanah shaldehi, Kolachahi Sabet Mohammad Taghi, and Mohammad Saeed hedayatpanah shaldehi. "Infinite Teaching ( ) In Collection and ( ) By Allegory and Conformity." Indian Journal of Advanced Mathematics 1, no. 1 (April 10, 2021): 29–33. http://dx.doi.org/10.35940/ijam.b1107.041121.
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The main purpose of this paper is to teach the infinite ( ) properties in real ( ) and expansive ( ) sets. Using allegory and matching. In today's advanced world, there may be more teaching methods than there are instructors. Some teaching methods are better known as the classical and modern methods. Some of these methods are more effective in basic science courses, especially mathematics, among which we can mention exploratory, discovery, and theological methods. Each of these three methods differs in the way the teacher and student interact. In the verbal method, the discovery and extraction of results is mainly done by the teacher, and the transfer of information is one-way from the teacher to the student. Proponents of this method believe that mathematics is based on logic and aims to strengthen the power of reasoning. To argue some propositions and understand some words, deductive, inductive and allegorical methods are used to facilitate and comprehend in teaching learners. Although allegory has less proving power than induction and analogy, it is more effective for adaptation and replication. What is claimed in this article is the role of allegory and conformity in teaching the word infinity (∞), and its properties in the expansive set ( ) There is no limit to infinity or limit to infinity. Only this article discusses the absolute infinity. Its adaptation or similarity to the sea and the desert, to facilitate teaching, which has been welcomed by learners and has been enthusiastic, has led to sustainable learning. Also, the properties of the two sets ( ) and ( ) are compared.
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Al-Bahloly, Saleem. "The Persistence of the Image: Dhākira Hurra in Dia Azzawi's Drawings on the Massacre of Tel al-Zaatar." ARTMargins 2, no. 2 (June 2013): 71–97. http://dx.doi.org/10.1162/artm_a_00048.
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This article examines the memory-image in a set of drawings produced by the Iraqi artist Dia Azzawi on the massacre of the Palestinian refugee camp, Tel al-Zaatar, during the Lebanese civil war. It traces the development of this memory-image in Iraq in the 1960s, within a paradigm of the modern artwork established by the work of the artist Kadhim Haidar. Generalizing in modern art a mode of allegory from the poetic tradition of the husayniyyat, that paradigm introduced a philosophy of history in which the past was interpreted as a tradition of tragic forms that could be revived in painting as allegories for articulating the experience of contemporary political violence. Within that philosophy of history, Azzawi drew from the epic, Gilgamesh, a formula for representing injustice, one where a victim is emplotted in a narrative of struggle, such that the forms of the victim double as forms of the aggression from which he suffers. This formula comprised the method of representation in Azzawi's drawings on the massacre at Tel al-Zaatar and in his work throughout the 1970s.
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Krzywy, Roman. "Allegorical Ekphrases of the Hall of Fame in Baroque Encomiums by Samuel Twardowski and Samuel Leszczyński." Ruch Literacki 57, no. 6 (December 1, 2016): 623–35. http://dx.doi.org/10.1515/ruch-2017-0091.
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Summary The article begins with an overview of the best known descriptions of palaces and temples in classical and Biblical literature. It is followed by a brief survey of the rhetorical rules associated with the ekphrasis of notable buildings, palaces, and other architectural wonders. After noting the importance of such description in the study of literature from classical antiquity until the Early Modern Age, the article focuses on two encomiums of the 17th century, Samuel Twardowski’s Leszczyński Palace (1643) and Samuel Leszczyński’s A Classicum of immortal Fame (1674). In both poems the encomium is fused with an allegorical ekphrasis of an imaginary Hall of Fame. While either of the two poems abounds in highly vivid descriptions, Leszczyński’s owes a great deal to the descriptive strategies and rhetoric of the elder poet. His ambition, though, was to outdo Twardowski. Leszczyński’s poetic hall with its allegories is a Baroque extravaganza, extolling not just one noble family but the glory of the Polish nation at large.
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Ohana, Michal. "Rabbi Eliezer Ashkenazi's Commentary on the Garden of Eden Story: Between Exegesis and Religious Thought." AJS Review 42, no. 2 (November 2018): 489. http://dx.doi.org/10.1017/s036400941800048x.
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This essay investigates Rabbi Eliezer Ashkenazi's commentary on the story of the Garden of Eden, first exploring his method of Bible commentary in general. In his interpretation of the Bible he vehemently distances himself from allegorical interpretation that abandons the plain meaning of the text, and holds that while biblical stories function as allegory (mashal), they all, without exception, actually occurred as written. Ashkenazi's interpretation of the Garden of Eden episode serves as a platform for presenting his thoughts regarding two of the main issues that occupied Jewish thinkers during the Middle Ages and the early modern period: human perfection and the proper balance between the divine Torah and intellectual inquiry. The examination of Ashkenazi's reading of this biblical episode shows that his perspective concurs with that of his colleagues in the Sephardic Diaspora throughout the Ottoman Empire, who identified with the moderate camp of the Sephardic philosophical tradition, which sees man as the purpose of creation and believes Torah study should precede philosophical inquiry.
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Slade, Darren M. "Patristic Exegesis: The Myth of the Alexandrian-Antiochene Schools of Interpretation." Socio-Historical Examination of Religion and Ministry 1, no. 2 (August 26, 2019): 155–76. http://dx.doi.org/10.33929/sherm.2019.vol1.no2.03.
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The notion that there existed a distinction between so-called “Alexandrian” and “Antiochene” exegesis in the ancient church has become a common assumption among theologians. The typical belief is that Alexandria promoted an allegorical reading of Scripture, whereas Antioch endorsed a literal approach. However, church historians have long since recognized that this distinction is neither wholly accurate nor helpful to understanding ancient Christian hermeneutics. Indeed, neither school of interpretation sanctioned the practice of just one exegetical method. Rather, both Alexandrian and Antiochene theologians were expedient hermeneuts, meaning they utilized whichever exegetical practice (allegory, typology, literal, historical) that would supply them with their desired theology or interpretive conclusion. The difference between Alexandria and Antioch was not exegetical; it was theological. In other words, it was their respective theological paradigms that dictated their exegetical practices, allowing them to utilize whichever hermeneutical method was most expedient for their theological purposes. Ultimately, neither Alexandrian nor Antiochene exegetes possessed a greater respect for the biblical text over the other, nor did they adhere to modern-day historical-grammatical hermeneutics as theologians would like to believe.
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Bandeirinha, José António, and Rui Aristides Lebre. "The need for Shelter Laugier, Ledoux, and Enlightenment’s shadows." Sophia Journal 5, no. 1 (December 1, 2020): 54–71. http://dx.doi.org/10.24840/2183-8976_2019-0005_0001_05.
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The scope of this text is to think about how the human need for shelter began to appear as a foundational allegory for the discipline of architecture in the early modern age (XVIII - XIX), particularly in Laugier’s “Primitive Hut” of 1753 and Ledoux’s “L’Abri du Pauvre” of 1804.
At roughly the same periods as these architects were investing the discipline with a new existential calling, new European visions of society, its organization and constraints were exploding the imaginary and concrete limits of the European polity which, at the time, was a planetary polity. Between Rousseau’s social contract, Kant’s Republic, Hegel’s “state,” among many other visions spanning from 1753 to 1804, Europe’s subjects, government and power, and their respective relationships, were structurally changed.
Assembled in the same picture, these allegories and visions give us many possibilities of reflection about architecture’s new position and role within the political in the modern age. On the other hand, it may help us reflect on what architecture articulates in the outbreak of new social contexts. Heeding Walter Benjamin, we propose to take control of these memories, disparate and synchronic as they might “really have been,” to ask in a moment of danger: why doesn’t architecture shelter today? How can we read that foundational calling today?
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Russell, Ian Alden. "Art and archaeology. A modern allegory." Archaeological Dialogues 18, no. 2 (October 26, 2011): 172–76. http://dx.doi.org/10.1017/s1380203811000237.
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Following the recent discussion of excavation in Archaeological dialogues (18(1)), Rodney Harrison's questioning of the viability of excavation and depth as viable tropes for conceptualizing and communicating archaeology's epistemological processes is both timely and pertinent. Beginning where Harrison finished, his use of Anselm Kiefer's artistic work as a ‘framing’ device, brings me to some intriguing critical trajectories for understanding archaeology's modern condition and the possibilities for it at this moment through deeper engagements with contemporary art, and visual and material gesture and culture.
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Zhang, Fengyi. "The Allegory of the Caves Implication on Modern Education." Lecture Notes in Education Psychology and Public Media 1, no. 1 (December 26, 2021): 354–56. http://dx.doi.org/10.54254/lnep.iceipi.2021238.
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In "Allegory of The Cave" from Plato Aristocles' book The Republic, Plato presents a dialogue between Glaucon and Socrates, which discusses proper pedagogy through a cave metaphor. The cave metaphor is a scenario that involves the actions of few prisoners trapped in a cave; they "are very much like us humans" [1]. In the allegory, there are symbolic elements like shadows and sunlight. By interpreting these elements in the rest of the essay, it explores the implication of the cave metaphor to modern education: a gradual pedagogy should be preferred above sudden exposure to higher-level knowledge. I will first discuss symbolic meanings of significant concepts in this allegory then tie the cave metaphor back to education in society to see why a gradual pedagogy should be valued in the education realm.
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Feinsod, Harris. "Postindustrial Waterfront Redevelopment and the Politics of Historical Memory." Comparative Literature 73, no. 2 (June 1, 2021): 184–208. http://dx.doi.org/10.1215/00104124-8874084.
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Abstract How have cities reorganized attention to their waterfronts after the decline of urban seaports? What kind of cultural record attends this reorganization? This article investigates the politics of historical memory at several sites of postindustrial harbor redevelopment since the 1960s. It locates the aesthetic sensibilities of waterfront renewal in a scattered network of comic tableaux in literature, art, and moving images, including the documentaries of Dutch filmmaker Joris Ivens, the sitcom Arrested Development, and a mural at Baltimore’s National Aquarium. Like fragments of Benjamin’s dialectical image, these scenes bring together the allegorical ruin of the urban seaport with comic efforts to inaugurate its future as a commercial esplanade, as if virtualizing and intensifying those two phases of Benjaminian historiography (early modern allegory and nineteenth-century commodity). Intermittently, where this dialectical image begins to be realized, these sites have erupted in acts of de-monumentalization by anticolonial and alter-globalization activists. The article locates fragments of this dialectical image in seaports including Rotterdam, Baltimore, Barcelona, Long Beach, and Genoa, studied under the names given to their harbors by developers: Europoort, Harborplace, Port Vell, Rainbow Harbor, and Porto Antico.
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Lisi, Leonardo F. "Allegory, Capital, Modernity:Peer Gyntand Ibsen's Modern Breakthrough." Ibsen Studies 8, no. 1 (June 2008): 43–68. http://dx.doi.org/10.1080/15021860802133751.
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Kalmár, György. "Recontextualizing Son of Saul: Masculinity in Totalitarian Spaces in Hungarian Film History." Acta Universitatis Sapientiae, Film and Media Studies 21, no. 1 (July 1, 2022): 123–45. http://dx.doi.org/10.2478/ausfm-2022-0005.
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Abstract As a result of its radical approach to the topic of the Holocaust, as well as due to the long list of prestigious prizes it won, Son of Saul (Saul fia, 2015, directed by László Nemes Jeles) has put the relation between Eastern European societies and totalitarianism in the centre of public and academic discourse. Though most reviews and articles placed the film in the history of Holocaust-representations, this is not the only context in which the film can be understood. In the present article I argue that Son of Saul can also be read outside (or at least at a distance from) the context of a Holocaust-film, as it also belongs to another, quite different and internationally much less known local cinematic canon. There is an unclaimed heritage behind Nemes Jeles’s controversial masterpiece, a trend in Hungarian cinema that explores the crisis of masculinity in totalitarian political regimes, thereby performing an allegorical critique of modernity and modern subjectivity. My recontextualization of Nemes Jeles’s work indicates the ways it is influenced by a local, Eastern European filmmaking tradition (which includes the work of his own father, the filmmaker András Jeles as well), and is supported by three interrelated conceptual focus points: a post-Foucauldian understanding of cultural and cinematic space, an awareness of the workings of modern cinematic allegory, and finally the use of male protagonists as prime sites for the inscription of social crisis and historical trauma.
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Barr, James. "The Literal, the Allegorical, and Modern Biblical Scholarship." Journal for the Study of the Old Testament 14, no. 44 (June 1989): 3–17. http://dx.doi.org/10.1177/030908928901404401.
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Eboh, Marie Pauline. "Public Reason and Embodied Community- Intercultural Philosophical Perspective: An African Approach." Filosofia Theoretica: Journal of African Philosophy, Culture and Religions 9, no. 1 (June 21, 2020): 63–78. http://dx.doi.org/10.4314/ft.v9i1.5.
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Every human person is a cultural being. Each culture has incomplete knowledge of reality, and the sharing of viewpoints makes for mutual enrichment, hence the need for intercultural perspectives. Even in a human being, body and spirit, emotion and reason reciprocally influence on each other. Life is dialogical. Action gives flesh to theory, and the abstract reason is exemplified in real things, which is what embodiment of reason is all about. Principles govern all things and public reason, as a causal principle, regulates the affairs of embodied homogeneous communities. African embodiment of reason is self-evident in names and allegories wherein rational thoughts and ideas are personified the way sentient robots embody or personify Artificial Intelligence (AI). In this treatise, we shall use allegory, nomenclature, traditional songs, apophthegms, etc., to show how Africans wisely incarnate ideas in things. As it is analogous to modern-day AI, we shall not only highlight the African approach to public reason and embodied community but also tangentially discuss the effect of AI on the global community, of which Africa is a subunit. In conclusion, we shall caution against the empowering of robots with logical reasoning, and the disempowering and denaturalizing of humans.
Keywords: Reason, Embodiment, Philosophy, Principle and Community.
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Hamill, T. A. "Cockfighting as Cultural Allegory in Early Modern England." Journal of Medieval and Early Modern Studies 39, no. 2 (April 1, 2009): 375–406. http://dx.doi.org/10.1215/10829636-2008-026.
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Seele, Astrid. "Die Hochzeit der Sprachen." Babel. Revue internationale de la traduction / International Journal of Translation 36, no. 3 (January 1, 1990): 167–77. http://dx.doi.org/10.1075/babel.36.3.05see.
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The allegory of the marriage of languages was inspired by Herder's comparison of a language not yet profaned by translations with a virgin. This simile was logically extended to the simile of translation as marriage of languages. The first part of the treatise presents the allegory. The translator wanders through the centuries and goes courting. In the second part the allegory is solved. The third part tries to answer the question of how far the allegory is to be considered as a contribution to the history of translation. The greatest stress is laid upon the open end of the allegory: the modern translations of ancient literature are — in an intentionally exaggerated manner — criticized so as to focus attention on the question of how far a historian of translation should consider his present point of view and interest when writing a history of translation.
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Andrade-Iñiguez, Pablo Andrés, María José Delgado-Cruz, and Cristian André Balcázar-Arciniega. "LA ILUSORIA EN LA ARQUITECTURA MODERNA EN LA CIUDAD DE LOJA A TRAVÉS DE LA OBRA DEL ARQUITECTO JORGE AUQUILLA ORTEGA." DISEÑO ARTE Y ARQUITECTURA, no. 10 (June 10, 2021): 215–37. http://dx.doi.org/10.33324/daya.v1i10.386.
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El presente trabajo se enmarca en el ámbito de la Teoría y Crítica de la Arquitectura. Se fundamenta en el concepto de formas ilusorias de la arquitectura moderna desarrollado por el profesor Antón Capitel. Una ilusión arquitectónica evoca algo que no está presente físicamente pero que puede recordarnos formas que en algún momento despertaron en nosotros diversas sensaciones o emociones y que nos permite evaluar espacios u objetos con diversos matices. Se analiza la vida y obra del arquitecto Jorge Auquilla Ortega y la presencia de la ilusoria en uno de sus proyectos arquitectónicos construidos en relación con la arquitectura moderna de la segunda mitad del siglo XX. El análisis arquitectónico de la obra permitió identificar la ilusoria presente en ella, a través de figuras retóricas como metonimia, elipsis, prosopopeyas, metáforas, alegorías, y quiasmos.
Palabras clave: Ilusoria, arquitectura, estilo internacional, arquitectura moderna, Loja, Ecuador.
AbstractThe present work was framed in the field of Theory and Criticism of Architecture. It was based on the concept of illusory forms in modern architecture developed by Professor Antón Capitel. An architectural illusion evokes something that is not physically present but that can remind us of forms that at some point awakened in us different sensations or emotions and that allows us to evaluate spaces or objects with different nuances. The life and work of architect Jorge Auquilla Ortega and the presence of illusory in one of his architectural projectsbuilt in relation to the modern architecture of the second half of the twentieth century are analyzed. The architectural analysis of the work allowed us to identify the illusory present in it, through rhetorical figures such as metonymy, ellipsis, prosopopoeial, metaphors, allegories, and chiasms.
Keywords: Illusory, architecture, international style, modern architecture, Loja, Ecuador.
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Biffis, Mattia. "Providing evidence in Early Modern Bologna." Acta ad archaeologiam et artium historiam pertinentia 32, no. 18 N.S. (September 13, 2021): 1–8. http://dx.doi.org/10.5617/acta.9017.
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This article provides a scientific introduction to the papers that are collected in the first section of Acta, originating from a workshop on "The Art of Truth: Providing Evidence in Early Modern Bologna" organized at the Norwegian Institute in Rome in October 2019. On cover:ANNIBALE CARRACCI (BOLOGNA 1560 - ROME 1609), An Allegory of Truth and Time c. 1584-1585.Oil on canvas | 130,0 x 169,6 cm. (support, canvas/panel/str external) | RCIN 404770Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.
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Buci-Glucksmann, Christine. "Catastrophic Utopia: The Feminine as Allegory of the Modern." Representations 14, no. 1 (April 1986): 220–29. http://dx.doi.org/10.1525/rep.1986.14.1.99p0134e.
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Buci-Glucksmann, Christine. "Catastrophic Utopia: The Feminine as Allegory of the Modern." Representations 14 (1986): 220–29. http://dx.doi.org/10.2307/2928441.
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R., R., and Lynette Hunter. "Modern Allegory and Fantasy: Rhetorical Stances of Contemporary Writing." Poetics Today 11, no. 3 (1990): 720. http://dx.doi.org/10.2307/1772845.
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Paxson, James J. "The Allegory of Temporality and the Early Modern Calculus." Configurations 4, no. 1 (1996): 39–66. http://dx.doi.org/10.1353/con.1996.0008.
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Gellrich, Jesse M. "Allegory and Materiality: Medieval Foundations of the Modern Debate." Germanic Review: Literature, Culture, Theory 77, no. 2 (January 2002): 146–59. http://dx.doi.org/10.1080/00168890209597863.
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Cornevin, Vanessa, and Charles Forceville. "From metaphor to allegory." Metaphor and the Social World 7, no. 2 (November 20, 2017): 235–51. http://dx.doi.org/10.1075/msw.7.2.04cor.
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Abstract Afuganisu-tan is an online manga by Timaking, published in English online in 2005, that presents selected historical events of modern Afghanistan in a series of 29 episodes plus an appendix. An episode consists of a four-panel micro-narrative in which Afghanistan and the countries with which its history is intertwined are consistently personified as young girls. Each manga episode is accompanied by a short, textual ‘memo’ describing historical events in a neutral, factual way. In this paper, we (1) propose that the extended personification of Afghanistan and other countries in this manga can be understood in terms of ‘allegory’; (2) sketch and evaluate how the manga part affects the construal of the country’s history; (3) consider some of the consequences of combining the manga part with memo text for the informative and educational value of Afuganisu-tan.
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Bogdan, Deanne, and Lynette Hunter. "Rhetorical Stance in Modern Literature: Allegories of Love and Death." Journal of Aesthetic Education 20, no. 2 (1986): 111. http://dx.doi.org/10.2307/3332702.
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La Berge, Leigh Claire. "The Future Perfect, Otherwise: Narrative, Abstraction and History in the Work of Fredric Jameson." Historical Materialism 29, no. 1 (February 26, 2021): 211–20. http://dx.doi.org/10.1163/1569206x-12342003.
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Abstract There has long been a tension in Fredric Jameson’s work regarding the extent to which it is possible or warranted to develop transhistorical categories for literary interpretation across of the whole of the capitalist mode of production. In my contribution to this symposium, I take up the problem of how Jameson’s Allegory and Ideology participates in such questions in its consideration of periodisation and narrativisation through the particular construction of allegory, from the early modern age to our financial present.
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Bardski, Krzysztof. "Song of Songs and the charism of Mother Theresa of Calcutta (Cant 1:5-2:17)." Warszawskie Studia Teologiczne 32, no. 4 (January 5, 2019): 106–22. http://dx.doi.org/10.30439/wst.2019.4.6.
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The ancient Christian tradition considered the allegorical interpretation of the Bible as an important mean of spiritual formation in the life of the Church. This approach to the Biblical text has been neglected in modern times due to the use of historical-critical methods in the Biblical exegesis. However, it seems that the intuitions of the Fathers of the Church may still be inspiring, especially for certain spiritual actualizations of the Scripture. In some contexts of the life of the Church, e.g. spiritual retreats, the symbolical and allegorical reading of the Bible can be still fruitful, especially in connection with new spiritualties emerging in modern times. Even more, the access to critical editions of patristic works and the semiotic approach to the Biblical text make possible new understandings that may enrich the living tradition of Biblical interpretation.
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Ostergaard, Edvin. "Echoes and Shadows: A Phenomenological Reconsideration of Plato's Cave Allegory." Phenomenology & Practice 13, no. 1 (May 31, 2019): 20–33. http://dx.doi.org/10.29173/pandpr29372.
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In the cave allegory, Plato illustrates his theory of ideas by showing that the world man senses and tries to understand, actually only is a dim representation of the real world. We know the allegory for its light and shadow; however, there is also sound and echo in the cave. In this article, I discuss whether the narrative of the prisoners in the cave is in tune with an audial experience and whether an allegory led by sound corresponds to the one led by sight. I start with a phenomenological analysis of the cave as a place of sound. After that, I elaborate on the training of attentive listening skills and its ramifications for pedagogical practice. I conclude that there are profound differences between seeing and listening and that sound reveals different aspects of “the real” compared to sight. The significance of Plato’s cave allegory should be evaluated in relation to modern, scientific thought characterised by a visual-spatial language. With support of this allegory, the light-shadow polarity has become the Urbild of represented reality. At the same time, a visually oriented culture of ideas repeatedly confirms Plato’s cave allegory as its central metaphor. Finally, an elaboration on the sounds in the cave proves to be fruitful in an educational sense: The comparison of sound and sight sharpens the differences and complementarities of audial and visual experiences.
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García Arranz, José Julio. "Mujeres y emblemas: una visión simbólica de la condición femenina en la Edad Moderna." IMAGO. Revista de Emblemática y Cultura Visual, no. 10 (February 4, 2019): 7. http://dx.doi.org/10.7203/imago.10.13292.
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ABSTRACT: The difficult situation of women in the Modern Period, marked by the strong patriarchal and androcentric character of the official culture and ideology of the moment, and their high degree of social marginalization, has been frequently analysed through various literary sources such as theatre, fiction or travel literature, collections of proverbs and sermons, and, above all, moral and doctrinal texts. However, for some time now, a new approach to the issue has been attempted which has proven to be of singular importance when observing the effect of the aforementioned directives of the dominant ideology on the familial and social role of women: illustrated symbolic literature. Through its various forms of expression--emblems, badges, hieroglyphics, allegories--this genre became, especially from the final decades of the 16thcentury, a perfectly calibrated and effective instrument when channelling the political, moral and doctrinal orientation of citizens. In the present study I offer an overview of how emblematic treatises and repertoires of allegories offer us excellent examples of the construction of the symbolic image that the dominant elites of modern times seek to spread and impose on the female gender, and their well-established and channelled behavioural norms.
KEYWORDS: Modern Period; Emblems; Female Marginality; Androcentric Control.
RESUMEN: La difícil situación de la mujer en la Edad Moderna, marcada por el fuerte carácter patriarcal y androcéntrico de la cultura e ideología oficiales del momento, y su alto grado de marginación social han sido analizados con frecuencia a través de diversas fuentes literarias como el teatro, la literatura de ficción o de viajes, las colecciones de refranes y sermones, y, sobre todo, los textos morales y doctrinales. Sin embargo, desde hace algún tiempo se está ensayando una nueva vía de aproximación al problema, y que resulta de singular importancia a la hora de constatar las mencionadas directrices de la ideología dominante sobre el papel familiar y social de la mujer: la literatura simbólica ilustrada. Por medio de sus diversas formas de expresión --emblemas, empresas o divisas, jeroglíficos, alegorías...--, este género se convirtió, sobre todo a partir de los decenios finales del s. XVI, en un instrumento perfectamente calibrado y eficaz a la hora de encauzar la orientación política, moral y doctrinal de los ciudadanos. En el presente trabajo ofrecemos una panorámica de cómo los tratados emblemáticos y los repertorios de alegorías nos ofrecen inmejorables ejemplos de la construcción de la imagen simbólica que las élites dominantes de los tiempos modernos pretenden difundir e imponer del género femenino, y de sus bien establecidas y canalizadas normas de comportamiento.
PALABRAS CLAVES: Edad Moderna; Emblemática; marginalidad femenina; control androcétrico.
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Bergamaschi Novaes, Bárbara. "As forças saturninas nas Fotomontagens do poeta Jorge de Lima / The Saturnine Forces in the Photomontages of Jorge de Lima." Cadernos Benjaminianos 15, no. 2 (March 13, 2020): 55. http://dx.doi.org/10.17851/2179-8478.15.2.55-74.
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Resumo: A partir de uma análise seletiva de oito fotomontagens do livro “Pintura em pânico” (1943) de Jorge de Lima traçamos correspondências entre as imagens do poeta alagoano, a iconografia barroca e alegórica estudada por Walter Benjamin, e as tópicas privilegiadas pelos artistas surrealistas europeus. Veremos como a praxis e os procedimentos criativos de Lima bebem das fontes dos artistas da vanguarda francesa do início do século XX, ecoando as investigações empreendidas pelo movimento encabeçado por André Breton e Georges Bataille – que, por sua vez, se configurou, nas palavras do crítico Ronaldo Brito, como: “uma tentativa heróica de atacar o cogito cartesiano” e “denunciar a falência do projeto moderno”. Para tal nos apoiaremos nas preposições, escritos e obras destes escritores supracitados, bem como nas trocas epistolares entre os poetas, Murilo Mendes e Jorge de Lima, bem como a relação de ambos com o pintor Ismael Nery.Palavras chave: Surrealismo no Brasil; artes visuais; vanguardas modernas; fotografia.Abstract: From a selective analysis approach of eight photomontages of Jorge de Lima’s book “Pintura em Pânico” (1943), we point to several correspondences between the photo-collage images of the Alagoan poet, and the baroque and allegorical iconography studied by Walter Benjamin, as well as the themes favored by surrealist’s french artists. We will regard how Lima’s creative praxis and procedures had nourished from the early-20th-century French avant-garde surrealist artists, echoing the investigations undertaken by the movement headed by André Breton and Georges Bataille – described by art critic Ronaldo Ronaldo Brito as: “a heroic attempt to attack the Cartesian Cogito” and “denounce the bankruptcy of the modern project”. For such can we will base our analysis on the writings and works of Surrealism movement members, as well as in the epistolary exchanges between poet Murilo Mendes, Jorge de Lima and the painter Ismael Nery.Keywords: Surrealism in Brazil; visual arts; modern avant-garde; photography.
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Paxson, James J. "Interpretation and Allegory: Antiquity to the Modern Period. Jon Whitman." Speculum 78, no. 4 (October 2003): 1423–25. http://dx.doi.org/10.1017/s0038713400101502.
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Swannack, Frank. "Allegory and Enchantment: An Early Modern Poetics by Jason Crawford." Parergon 35, no. 1 (2018): 158–60. http://dx.doi.org/10.1353/pgn.2018.0018.
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Pradeep Shinde, Pooja. "Portrayal of R.K. Narayan’s ‘The Man-Eater of Malgudi’ as an Allegorical Novel: An Overview." Shanlax International Journal of English 9, no. 1 (December 1, 2020): 13–15. http://dx.doi.org/10.34293/english.v9i1.3440.
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This article deals with R.K. Narayan’s The Man-Eater of Malgudi as an allegorical novel. An allegorical story tries to entertain the reader through theuse of extended metaphor in which characters, plot, abstract ideas represents not only moral lessons but also explains story hidden underneath. In R.K. Narayan’s The Man-Eater of Malgudi, the author has profoundly used allegorical element to explain the relationship between Natraj and Vasu. Natraj, a well- to- do printer of the town lives his life peacefully but he gets outraged with the arrival of Vasu. Vasu is just like Shakespeare’s Lago in Othello who is an embodiment of self-destruction. He has been called the Man-Eater of Malgudi who tries to suppress the innocent lives of Malgudi. The author has used the mythological term,‘Bhasmasura’ to explain the demonic attributes of Vasu. He kills innocent animals, seduces women, threatens people of Malgudi and seeks pleasure out of it. He considers himself as supreme figure which leads him to his doom. R.K. Narayan through Vasu’s character has highlighted that who are prideful will bring about their self-destruction. In allegorical view, the author has depicted the sad reality of modern society where people like Vasu try to squash the innocent people.