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Journal articles on the topic 'Allegorical'

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Author: Grafiati

Published: 4 June 2021

Last updated: 10 March 2023

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1

Piehler, Paul. "The Rehabilitation of Prophecy: On Dante's Three Beasts." Florilegium 7, no. 1 (January 1985): 179–88. http://dx.doi.org/10.3138/flor.7.011.

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Out of the range of learned commentary helpful in the understanding of Dante’s allegory I select, as a not entirely arbitrary starting point, Joseph Mazzeo's wide-ranging exploration of allegorical exegesis, entitled "Allegorical Interpretation and History."'1’ This article, published in 1978, is notable for the unusually clear and firm distinction it draws between allegorical interpretation of texts, normally sacred texts, not actually designed to be read allegorically, and what Mazzeo terms "constructed allegory," that is, "The works of our literary tradition which demand to be understood as allegory rather than simply allowing allegorical interpretation . .(p. 17). After clarifying this essential but all too often obscured distinction, Mazzeo goes on to point out that constructed allegory "should generally be understood as following typological patterns rather than the more abstract and unhistorical patterns of allegorical exegesis.""Typolog-ical" allegory he defines as allegory that "assumes the existence of a central paradigmatic story, of a sacred or near-sacred character, set in the past and assumed to be historical . .(p. 17).

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2

DAVIS, ANNE. "Allegorically Speaking in Galatians 4:21–5:1." Bulletin for Biblical Research 14, no. 2 (January 1, 2004): 161–74. http://dx.doi.org/10.2307/26422709.

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Abstract This study examines Paul's phrase "allegorically speaking" in Gal 4:24, suggesting that the following passage is not the literary genre of narrative allegory, a method of Greek rhetoric, or a method of interpretation known as "typology." Instead, the study examines another ancient allegorical technique that employed two literary devices to startle the reader and act as markers leading to the Hebrew Scriptures for deeper spiritual interpretations. Furthermore, because these allegorical markers are clustered together in Gal 4:24–28, one can recognize the literary structure. By identifying the method of Paul's argument and the literary structure of the passage, this study promotes further examination of the meaning of these verses by following the allegorical markers to the Hebrew Scriptures.

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3

DAVIS, ANNE. "Allegorically Speaking in Galatians 4:21–5:1." Bulletin for Biblical Research 14, no. 2 (January 1, 2004): 161–74. http://dx.doi.org/10.2307/bullbiblrese.14.2.0161.

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Abstract This study examines Paul's phrase "allegorically speaking" in Gal 4:24, suggesting that the following passage is not the literary genre of narrative allegory, a method of Greek rhetoric, or a method of interpretation known as "typology." Instead, the study examines another ancient allegorical technique that employed two literary devices to startle the reader and act as markers leading to the Hebrew Scriptures for deeper spiritual interpretations. Furthermore, because these allegorical markers are clustered together in Gal 4:24–28, one can recognize the literary structure. By identifying the method of Paul's argument and the literary structure of the passage, this study promotes further examination of the meaning of these verses by following the allegorical markers to the Hebrew Scriptures.

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4

Constantinou, Marios. "Allegorical Materialism." Angelaki 16, no. 1 (March 2011): 63–78. http://dx.doi.org/10.1080/0969725x.2011.564364.

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5

Abugideiri, Hibba. "Allegorical Gender." American Journal of Islam and Society 13, no. 4 (January 1, 1996): 518–35. http://dx.doi.org/10.35632/ajis.v13i4.2296.

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IntroductionIn the last decade, a number of monographs and forays in the field ofMuslim women’s studies have attempted to examine the place of theMuslim woman in the interpretive heritage of Islamic exegetical texts, particulythe hadith tufsir literature from the period of classical Islam.’ The figureof Eve (Hawwa’ in Qur’anic terminology) is an inevitable topic of discussionin all of these scholarly studies, primarily due to her definitive rolein the evolution of gender categories in the Islamic exegetical texts, and,subsequently, how this role has become an indicator of direction for theMuslim woman’s identity. The figure of Eve, in short, as articulated byMuslim classical exegetes, has not ony defined the identity of Muslimwoman; it has also set the parameters for how that identity has been forged.Yet, the traditional view of Eve portrays woman as both physically andmentally inferior to man, as well as spiritually inept. This classical interpretationof Eve has come to be endowed with sacred authority, more so byvirtue of its place in our Islamic past than by any Qur’anic sanction.This is not to imply that all of the medieval classical writings on Islamconstitute a monolithic whole. After all, the sources of the Shari‘ah, namely,the Qur’an and the hadith, historically have been highly adaptable texts:In the case of the Qur’an, its directives are general, broad, and flexiblein most cases; therefore they could be translated into the termsof a specific social reality of each generation of interpreters.Concerning the hadith . . . given the inevitable gap between theactual and the idealized. . . it is not surprising that the Hadith containsan abundance of varied and often contradictory traditions, ...

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6

Ashworth, William B. "Allegorical Astronomy." Sciences 25, no. 5 (September 10, 1985): 34–37. http://dx.doi.org/10.1002/j.2326-1951.1985.tb02795.x.

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7

Cordell, Jacqueline. "Priming text function in personification allegory: A corpus-assisted approach." Language and Literature: International Journal of Stylistics 27, no. 3 (August 2018): 218–39. http://dx.doi.org/10.1177/0963947018788516.

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Current linguistic examination of allegory focuses on its cognitive structure as conceptual metaphor, with its linguistic form realised in the absence of a target domain (Crisp, 2001; 2008). The present study addresses the intersection of conceptualisation and form in examining how personification allegory functions within a literary context as either fictional world or thematic elements. Central to this is the idea of lexical priming, which suggests that readers are both textually and experientially primed to interpret personified referents allegorically or non-allegorically depending on their contextual use. In this article I draw on Mahlberg and McIntyre’s (2011) framework for literary text function to take an integrated cognitive-corpus approach to exploring allegorical function through the lens of lexical priming, with corpus analysis revealing the patterns on which these cognitive primings are textually based. To this end, real-world examples of personification allegory are drawn from the Middle English allegorical poem Piers Plowman relative to a corpus of other late medieval poetic literature. My main findings suggest that the textual functionality attributed to allegorical referents is neither mutually exclusive nor directly correlative to a particular textual pattern, but rather contingent on the degree of animacy-based priming evidenced in their core semantic meaning or textual foregrounding. These results additionally indicate that function-based primings depend on the type of allegory appearing in the text (i.e. property versus class allegory).

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8

Sutandio, Anton. "The Politics of Religion in Sisworo Gautama Putra’s and Joko Anwar’s Pengabdi Setan." k@ta 21, no. 1 (June 21, 2019): 24–32. http://dx.doi.org/10.9744/kata.21.1.24-32.

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This research compares two films, the original Pengabdi Setan and its remake, in the context of politics of religion to show how the two films depict the issue of religion at two different eras based on the released years of the two films. The display of religion in the two films is viewed as an allegorical representation as well as critical responses to the socio-political situation of the two eras. Separated by almost four decades, Joko Anwar’s nostalgic remake and the original film subtly converse with each other, share distinctive similarities yet also polarized differences that underlie their endeavor to allegorically bring back and relive public memory of certain national trauma; that is repression during the New Order regime and marginalization of the minority in contemporary Indonesia. By focusing on the films’ cinematography and mise-en-scene, this research attempts to locate those allegorical moments within the depiction of religious practice that challenge, criticize or accentuate the dominant ideology of their respective eras. Keywords: allegorical moment, religion, national trauma, politicization

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9

Bafoev, Farruh S. "ALLEGORICAL IMAGES IN FOLK PROVERBS." European International Journal of Multidisciplinary Research and Management Studies 02, no. 09 (September 1, 2022): 106–11. http://dx.doi.org/10.55640/eijmrms-02-09-24.

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Allegorical images, which are the basis of figurative thinking, first appeared in oral creativity, and then began to be used in individual creativity. This article analyses the essence, types and meanings of animal images found in the text of folk proverbs. The above theoretical provisions are based on the example of Uzbek and German folk proverbs. The meanings of allegorical images in the folklore of the two peoples are compared and certain conclusions are drawn.

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10

Crawford, Jason. "Langland's Allegorical Modernity." English Studies 95, no. 6 (August 18, 2014): 597–619. http://dx.doi.org/10.1080/0013838x.2014.942087.

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11

Stoll, Abraham. "Spenser’s Allegorical Conscience." Modern Philology 111, no. 2 (November 2013): 181–204. http://dx.doi.org/10.1086/673202.

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12

Gibbs, Raymond W. "The Allegorical Impulse." Metaphor and Symbol 26, no. 2 (March 30, 2011): 121–30. http://dx.doi.org/10.1080/10508406.2011.556498.

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13

Sullivan, Daniel. "An Allegorical Gateway." Neurosurgery 40, no. 1 (January 1997): 210. http://dx.doi.org/10.1227/00006123-199701000-00048.

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Sullivan, Daniel. "An Allegorical Gateway." Neurosurgery 40, no. 1 (January 1997): 210. http://dx.doi.org/10.1097/00006123-199701000-00048.

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15

Bardski, Krzysztof. "Bóg jako sprawiedliwy sędzia w symbolicznej ikonosferze biblijnej starożytności chrześcijańskiej i średniowiecza." Verbum Vitae 26 (December 1, 2014): 143–57. http://dx.doi.org/10.31743/vv.1589.

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The article presents and analyzes several symbolical-allegorical interpretations of biblical literary motives present in the work of Garnier of Langres Allegoriae totius Scripturae. They are gathered in the following groups: 1. The Body of God; 2. Instruments in the hands of God; 3. Weapons of God; 4. Cosmical-atmospherical symbolism; 5. Symbolism of the elements.

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16

Poirion, Daniel, and Caroline Weber. "Mask and Allegorical Personification." Yale French Studies, no. 95 (1999): 13. http://dx.doi.org/10.2307/3040743.

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17

Fassler, Margot E. "Allegorical Architecture in Scivias:." Journal of the American Musicological Society 67, no. 2 (2014): 317–78. http://dx.doi.org/10.1525/jams.2014.67.2.317.

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Hildegard of Bingen's Ordo Virtutum has come to occupy a major role among Western European dramatic musical works, with scenes widely anthologized, multiple studies in print, and several recordings. I argue that the “setting” of Hildegard's Ordo Virtutum is the allegorical architecture created in her first major treatise, Scivias, written in the 1140s and early 1150s. In this period, while Hildegard was composing the play and writing her first major theological work, she was also designing a complex of new monastic buildings, which helps explain her concentration on architectural themes and images. Hildegard has situated the main “acts” of the play within allegorical towers, and the musical dimensions of the play are driven by its unfolding within this architectural understanding, including the “climbing” through the modes and the development of longer processional chants that link the action in one tower or pillar to that of another. We can see that the particular characters chosen for the play from a broad array of possibilities, underscore themes that relate to the lives and governance of Benedictine nuns. Hildegard's work provided parallels for her community between the allegorical architecture of Scivias, the play and its music, and the new church whose building was overseen by Hildegard.

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18

Robertson, Sam. "John Hewitt's allegorical imagination." Irish Studies Review 17, no. 2 (May 2009): 167–82. http://dx.doi.org/10.1080/09670880902885388.

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19

Monsman, Gerald. "Olive Schreiner's Allegorical Vision." Victorian Review 18, no. 2 (1992): 49–62. http://dx.doi.org/10.1353/vcr.1992.0021.

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20

Kubat, Rodoljub. "Literal in contrast to alegorical interpretation: History versus myth." Zbornik Matice srpske za drustvene nauke, no. 166 (2018): 207–20. http://dx.doi.org/10.2298/zmsdn1866207k.

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Allegoresis as an exegetical method originated within Hellenistic schools of philosophy, and it expressed the Hellenistic thought to a great extent. First interpreters of the Bible who started using allegorical interpretation were the Hellenized Jews - Aristobulos and Philo of Alexandria. Later Christian interpreters followed in their footsteps, especially the representatives of the Alexadrian School, of whom the most notable is Origen. Biblical interpreters were faced with the problem of relation between the literal and the allegorical interpretation from the very beginning. The source of that problem was the Christian understanding of history, namely, the belief that God has really revealed Himself in history. Denial of text?s historical meaning deprived the formative events of faith of any meaning. On the other side, the sole view of the history as series of events from the past which have no deeper meaning led exegesis to sterile literalism. Tensions between the literal interpretation and the allegoresis escalated particularly in the 4th century when Emperor Julian the Apostate tried to revive Hellenistic paganism. In order to revive old myths, he made use of allegoresis. In polemic writings against the Christians he also emphasized that the Bible has to be understood allegorically. Prominent Christian theologians then arose against allegorical interpretation, seeing in it as a serious threat for the correct understanding of the Scripture. In that exegetical battle, the most notable were: Basilius the Great, Diodoros of Tarsus and Theodore of Mopsuestia. In this paper we will take a look at that exact moment in history.

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21

Grigg, Robert. "Flemish Realism and Allegorical Interpretation." Journal of Aesthetics and Art Criticism 46, no. 2 (1987): 299. http://dx.doi.org/10.2307/431868.

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22

Gordon, Jan B. "The Literature of Allegorical Occupations." MFS Modern Fiction Studies 49, no. 2 (2003): 341–47. http://dx.doi.org/10.1353/mfs.2003.0018.

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23

Brunner, Diane DuBose, Gina Cervetti, and Tumie Thiba. "An Allegorical Reading of Multiculturalism." Pedagogy 2, no. 1 (January 1, 2002): 143–50. http://dx.doi.org/10.1215/15314200-2-1-143.

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24

Dessen, Alan C. "Allegorical Action and Elizabethan Staging." SEL Studies in English Literature 1500-1900 55, no. 2 (2015): 391–402. http://dx.doi.org/10.1353/sel.2015.0012.

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25

MANN. "ALLEGORICAL BUILDINGS IN MEDIAEVAL LITERATURE." Medium Ævum 63, no. 2 (1994): 191. http://dx.doi.org/10.2307/43629730.

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26

Stone, Michael. "The Interpretation of Song of Songs in 4 Ezra." Journal for the Study of Judaism 38, no. 2 (2007): 226–33. http://dx.doi.org/10.1163/157006307x180192.

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AbstractThe article deals with a passage of 4 Ezra that might well be an allegorical exegesis of Song of Songs. The usual allegory sees the bridegroom as God and the bride as Israel. 4 Ezra is contemporary with Rabbi Aqiba's statements on the allegory of Song of Songs, and is further evidence for the existence of allegorical interpretation. Yet it witnesses a different tradition of allegorical exegesis to the one usually found. This conclusion is compared with various views on Song of Songs and its interpretation.

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27

Gignilliat, Mark. "Paul, Allegory, and the Plain Sense of Scripture: Galatians 4:21–31." Journal of Theological Interpretation 2, no. 1 (2008): 135–46. http://dx.doi.org/10.2307/26421450.

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Abstract This article deals primarily with presuppositions associated with allegory/figural reading and its relationship to what we might call the plain sense of Scripture. Paul's allegorical appeal in Gal 4:21–31 will serve as an illustration of the major themes addressed. This article seeks to place Paul's allegorical appeal squarely within the church's exegetical tradition of figural reading. Drawing on the terminology of Brevard Childs, it will query whether Paul's allegorical reading of the Sarah/Hagar story fits within the "family resemblance" of Christian reading of the OT. Two questions are central to this inquiry: (1) What is the relationship between typology and allegory? (2) What is the relationship between the sensus literalis and figural reading? Following from these two central questions is a third: Can Paul's allegorical reading be called a "plain sense" reading of the Genesis narrative?

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Gignilliat, Mark. "Paul, Allegory, and the Plain Sense of Scripture: Galatians 4:21–31." Journal of Theological Interpretation 2, no. 1 (2008): 135–46. http://dx.doi.org/10.2307/jtheointe.2.1.0135.

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Abstract This article deals primarily with presuppositions associated with allegory/figural reading and its relationship to what we might call the plain sense of Scripture. Paul's allegorical appeal in Gal 4:21–31 will serve as an illustration of the major themes addressed. This article seeks to place Paul's allegorical appeal squarely within the church's exegetical tradition of figural reading. Drawing on the terminology of Brevard Childs, it will query whether Paul's allegorical reading of the Sarah/Hagar story fits within the "family resemblance" of Christian reading of the OT. Two questions are central to this inquiry: (1) What is the relationship between typology and allegory? (2) What is the relationship between the sensus literalis and figural reading? Following from these two central questions is a third: Can Paul's allegorical reading be called a "plain sense" reading of the Genesis narrative?

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29

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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30

Rios, César Motta. "O que vês? / O que lês?: imagináveis aproximações entre Fílon e Zacarias." Nuntius Antiquus 3 (June 30, 2009): 85–95. http://dx.doi.org/10.17851/1983-3636.3..85-95.

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In this note, I propose a discussion based on the possibility of comparison between the Philo of Alexandria's allegorical interpretation, and the one used in Zechariah’s book. By using selected examples, in which I have found similarities and dissimilarities between both authors, I aim to demonstrate that the semiotic difference of the object read in the prophet's text must be taken into account when compared to Philo's “textual” allegorical interpretation. At the end, I try to expose a reflection on the tradition of allegorical readers (or readings) and the place of Zechariah's text in it.

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31

Hoogerwerf, Cornelis. "Historische versus allegorische uitleg in de inleiding van Išo‘dad van Mervs commentaar op de Psalmen : Vertaling en bronkritische analyse1." NTT Journal for Theology and the Study of Religion 73, no. 4 (November 1, 2019): 283–97. http://dx.doi.org/10.5117/ntt2019.4.002.hoog.

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Abstract The introduction to the ninth-century commentary on the Psalms by Išo‘dad of Merv contains a chapter on historical versus allegorical explanation. The first half of this chapter is about Origen and the Greek origin of allegorical explanation. The second half shows the inadequacy of allegorical explanation on the basis of Paul’s interpretation of the rock in the desert as Christ (1 Cor. 10:4). This article contains a Dutch translation and an analysis in which the possible sources of Išo‘dad’s text are discussed with special attention to the work of Theodore of Mopsuestia.

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32

Dutta, Kalyani. "Rokeya Sakhawat Hosain's Gyanphal and Muktiphal: A Critique of the Iconography of the Nation-as-Mother." Indian Journal of Gender Studies 7, no. 2 (September 2000): 203–16. http://dx.doi.org/10.1177/097152150000700204.

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Our focus is more specifically textual as we attempt a recovery and celebration of early feminist writings. We are introduced to two allegorical fables by the early-20th-century Bengali educa tionist and writer, Rokeya Sakhawat Hosain. Hosain's stories are feminist critiques of anti- colonial nationalism, which are still relevant and continue to delight with their irony and pene trating intelligence. In these two stories we find the ideal and the weak mother of the nation dealt with allegorically, the polemical purpose being to advocate the education of women in the interests of building a strong society and nation.

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33

Rios, César Motta. "O que vês? / O que lês?: imagináveis aproximações entre Fílon e Zacarias." Nuntius Antiquus 3 (June 30, 2009): 85. http://dx.doi.org/10.17851/1983-3636.3.0.85-95.

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<p>In this note, I propose a discussion based on the possibility of comparison between the Philo of Alexandria's allegorical interpretation, and the one used in Zechariah’s book. By using selected examples, in which I have found similarities and dissimilarities between both authors, I aim to demonstrate that the semiotic difference of the object read in the prophet's text must be taken into account when compared to Philo's “textual” allegorical interpretation. At the end, I try to expose a reflection on the tradition of allegorical readers (or readings) and the place of Zechariah's text in it.</p>

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34

Lanzinger, Daniel. "„Der Felsen aber war Christus“ (1 Kor 10,4)." Biblische Zeitschrift 62, no. 1 (March 31, 2018): 63–79. http://dx.doi.org/10.30965/25890468-06201003.

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This article examines Paul’s enigmatic statement that “the rock was Christ” (1 Cor 10:4) from the perspective of ancient understandings and habits of allegorical interpretation. Paul’s use of the exodus story can be addressed as an exemplum type of allegory, as described by Quintilian and applied for exegetical purposes by Heraclitus and Philo. In contrast to previous scholarship, it is shown that the employment of different tenses in allegorical formulas is a matter of style rather than of content so that Paul’s use of ἦν instead ἐστίν does not contradict the fact that it is meant to designate the allegorical sense of the term “rock”.

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35

Sharma, Arvind. "Accounting for Gandhi's allegorical interpretation of the Bhagavadgītā." Studies in Religion/Sciences Religieuses 32, no. 4 (December 2003): 499–509. http://dx.doi.org/10.1177/000842980303200407.

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Mahatma Gandhi is well known for offering an allegorical interpretation of the Bhagavadgī tā , whereas the more usual understanding of it in Hindu circles tends to be literal. This raises the question: what factors led Mahatma Gandhi to espouse an allegorical interpretation of the Bhagavadgī tā ? This paper concludes that Mahatma Gandhi preferred an allegorical interpretation on the basis of what he considered the "internal evidence" provided by the Mahā bhā rata and the Bhagavadgī tā and not under the influence of general exegetical trends, historical or contemporary, or of Arnold's translation or Theosophical, Jaina and Christian teachings or on account of his commitment to ahim sā .

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36

Davidi, Einat. "Buber's Elijah as an Allegorical Play." Partial Answers: Journal of Literature and the History of Ideas 19, no. 1 (2021): 35–59. http://dx.doi.org/10.1353/pan.2021.0002.

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37

von Buelow, Christiane. "The Allegorical Gaze of Cesar Vallejo." MLN 100, no. 2 (March 1985): 298. http://dx.doi.org/10.2307/2905739.

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38

SAKAKI, Kazuyo. "The Islamic Allegorical Framework for Yoga." Journal of Indian and Buddhist Studies (Indogaku Bukkyogaku Kenkyu) 58, no. 3 (2010): 1139–43. http://dx.doi.org/10.4259/ibk.58.3_1139.

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39

Bashir, Saima. "Contemporaneity of Allegorical Arab Minor Literature." PAKISTAN LANGUAGES AND HUMANITIES REVIEW 5, no. II (December 31, 2021): 577–88. http://dx.doi.org/10.47205/plhr.2021(5-ii)1.45.

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40

Zink, Michel, Margaret Miner, and Kevin Brownlee. "The Allegorical Poem as Interior Memoir." Yale French Studies, no. 70 (1986): 100. http://dx.doi.org/10.2307/2929851.

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41

Borg, Ruben. "Past, Passivity, Passion: Deleuze's Allegorical Drama." CounterText 5, no. 1 (April 2019): 70–88. http://dx.doi.org/10.3366/count.2019.0151.

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This article offers a rhetorical analysis of Deleuze's concept of the past, understood not as a modification of the present but as a pre-predicative, non-subjective articulation of time. Focusing on the discussion of the three passive syntheses of time in Chapter 2 of Difference and Repetition, it traces the continuity between past, passivity and passion across Deleuze's body of work in an effort not only to remark on the conceptual resonances between them, but, more importantly, to examine the figural and formal choices that codify those resonances, and to some extent over-determine them – in particular, Deleuze's recourse to allegory and tragic form. Though the past is constituted as a primordial component of time, it already exceeds itself in the passivity of that constitutive moment, of that originary gesture by which it is first committed to historical experience. The process is rendered in dramatic terms: Habitus and Mnemosyne (Habit and Memory; Present and Past) are first pitted against each other – respectively, as the origin of time and its ground. They are then overthrown by an unnamed third element ‘which subordinates the other two to itself’ and opens the whole to infinity. The article thematises the significance of the past within this allegorical drama, develops the character, and draws out the temporal structures encoded in Deleuze's figurations.

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42

Bardell, M. "ALLEGORICAL LANDSCAPE: PEIRE VIDAL'S 'RIC THESAUR'." French Studies 55, no. 2 (April 1, 2001): 151–65. http://dx.doi.org/10.1093/fs/55.2.151.

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43

SEEMANN, KLAUS-DIETER. "ALLEGORICAL-EXEGETICAL DEVICES IN KIEVAN LITERATURE*." Canadian-American Slavic Studies 25, no. 1-4 (1991): 27–41. http://dx.doi.org/10.1163/221023991x00047.

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44

Badcoe, T. "Allegorical Quests from Deguileville to Spenser." English 62, no. 239 (October 14, 2013): 411–13. http://dx.doi.org/10.1093/english/eft051.

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Posèq, Avigdor W. G. "THE ALLEGORICAL CONTENT OF CARAVAGGIO'S "NARCISSUS"." Source: Notes in the History of Art 10, no. 3 (April 1991): 21–31. http://dx.doi.org/10.1086/sou.10.3.23203015.

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Jupil Yoon. "Allegorical reading and understanding on and." Journal of Korean Classical Literature ll, no. 50 (December 2016): 223–59. http://dx.doi.org/10.17838/korcla.2016..50.008.

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Dawson, David. "Allegorical Intratextuality in Bunyan and Winstanley." Journal of Religion 70, no. 2 (April 1990): 189–212. http://dx.doi.org/10.1086/488342.

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Antoon, Sinan. "Mahmud Darwish's Allegorical Critique of Oslo." Journal of Palestine Studies 31, no. 2 (January 1, 2002): 66–77. http://dx.doi.org/10.1525/jps.2002.31.2.66.

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Abstract:

The Palestinian poet Mahmud Darwish occupies a unique space in Arab culture and in the collective memory of Arabs as "the national poet of Palestine." This article provides a reading of one of Darwish's poems, "A Non-Linguistic Dispute with Imru' al-Qays," which was written after the signing of the 1993 Oslo Accord. The poem is read as an allegorical critique of Oslo and, at the same time, a retrospective contemplation of Darwish's own role in Palestinian politics, written in a style that displays Darwish's exceptional poetical skill and his masterly use of Arabo-Islamic history and mythology.

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Raggio, Olga. "Two Allegorical Sculptures by Francesco Ladatte." Metropolitan Museum Journal 41 (January 2006): 121–31. http://dx.doi.org/10.1086/met.41.20320664.

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Gorman, Cassandra. "Allegorical Analogies: Henry More’s Poetical Cosmology." Studies in Philology 114, no. 1 (2017): 148–70. http://dx.doi.org/10.1353/sip.2017.0005.

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