Relevant bibliographies by topics / English Allegories

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Academic literature on the topic 'English Allegories'

Author: Grafiati
Published: 29 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "English Allegories"

1

DOY, GEN. "THE MAKING OF ENGLISH PHOTOGRAPHY: ALLEGORIES BY STEVE EDWARDS." Art Book 14, no. 3 (August 2007): 58. http://dx.doi.org/10.1111/j.1467-8357.2007.00850_1.x.

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Lukitsh, Joanne. "The Making of English Photography: Allegories, by Steve Edwards." Victorian Studies 49, no. 4 (July 2007): 718–19. http://dx.doi.org/10.2979/vic.2007.49.4.718.

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Irvine, Martin, and John P. Hermann. "Allegories of War: Language and Violence in Old English Poetry." South Atlantic Review 56, no. 2 (May 1991): 127. http://dx.doi.org/10.2307/3199964.

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Bernard, Catherine. "A Certain Hermeneutic Slant: Sublime Allegories in Contemporary English Fiction." Contemporary Literature 38, no. 1 (1997): 164. http://dx.doi.org/10.2307/1208856.

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Pittock, M. G. H. "Review: Allegories of Union in Irish and English Writing, 1790-1870." Review of English Studies 53, no. 210 (May 1, 2002): 276. http://dx.doi.org/10.1093/res/53.210.276.

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MATTHEWS, C. "A RELATION, OH BLISS! UNTO OTHERS." Nineteenth-Century Literature 58, no. 4 (March 1, 2004): 474–505. http://dx.doi.org/10.1525/ncl.2004.58.4.474.

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Studying Arthur Hugh Clough's 1848 poem The Bothie of Toper-Na-Fuosich and its approach to metrical and sexual forms, in this essay I examine the ways in which heterosexuality operates as an experiment in form intimately connected with the poem's experiment in English hexameter. Both Clough's hero, Philip Hewson, and his meter strike poses of passion and disruption, but both ultimately seek out and create architectural forms that "order" and orchestrate their "liberties." In the Þrst section I present a reading of The Bothie's heterosexual and political narrative, describing the trajectory of the poem's hero through an interconnected series of lovers and philosophical arguments. In the second section I address the synergy between the poem's sexual and metrical allegories, drawing connections between the poem's methods of thematizing both metrical turbulence and heterosexual passion. Finally, I explore how The Bothie brings these two allegories together, demonstrating that Clough's meter enacts an "ordered liberty" and a structure of "relation unto others" that is integral to the poem's ultimate image of passionate but socially responsible union: the new bridge dreamed of by Philip's Þnal lover.
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Chance, Jane. "Rhetoricalinventio and Ricardian allegories in late middle English literature: A new historical approach to fiction." International Journal of the Classical Tradition 8, no. 1 (September 2001): 79–91. http://dx.doi.org/10.1007/bf02700230.

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Renu and Dr. R K. Sharma. "Mulk Raj Anand, Raja Rao and R. K. Narayan: The Polemics of Myth making and Influence of Gandhi." Creative Launcher 6, no. 2 (June 30, 2021): 19–24. http://dx.doi.org/10.53032/tcl.2021.6.2.04.

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The present paper represents the three triumvirs of Indian English novel at the critical juncture of the early twentieth century when Gandhian thoughts and polemics were influential throughout India. The paper seeks to explore how under Gandhian presence–both physical as well as metaphorical, these three novelists attempted to explore the myths and mythical narratives of Indian civilization and culture to manifest the ‘collective unconscious’ of the Indian sensibilities. Furthermore, it also tries to understand the polemics of myth-making in the context of post-colonial politics and writing. The nationalist culture of the early twentieth century and the contribution of these writers are being explored to analyze how their narratives are national allegories.
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Nikolaeva, O. V. "Discursive-Pragmatic Creativity in English-Language Chinese Mass Media." Nauchnyi dialog 11, no. 2 (March 19, 2022): 221–38. http://dx.doi.org/10.24224/2227-1295-2022-11-2-221-238.

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The issue of linguistic creativity in Chinese mass media sources published in English is considered. The novelty of the study lies in the fact that the English-language discourse of the Chinese mass media is studied as an independent culturally conditioned speech activity phenomenon that actualizes the cultural values of China and the civilizational values of the East. It is substantiated that linguistic creativity is realized in English texts through various forms of manifestation of Chinese national communicative identity: proverbs, allegories, analogies, hints, allusions, rooted in Chinese history, philosophy and folk experience. The updated concepts of proverbs emphasize the values of constant evolutionary movement on the principle of “movement in the still” and the values of collectivism, which are significant both in the country itself and in the region and the world. The collectivism peculiar to China determined the accentuation of the anti-value concepts of hegemony, shame, slander and humiliation. It has been proved that linguistic creativity in the Chinese media in English is also expressed in wordplay and word creation, if this contributes to a more effective presentation of China's position to the English-speaking audience and does not violate the principle of appropriateness. It has been established that in the Chinese English-language mass media, linguistic creativity is of a discursive-pragmatic nature, allows copying samples of linguistic creativity from English-language media and is supplemented with new associations and meanings in their own cultural context.
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Akkoyun, Burcu Kayışcı. "After the Night, Before the Gate: Kafkaesque Imaginations and Dystopian Speculations in the Mediterranean." Utopian Studies 35, no. 1 (March 2024): 152–72. http://dx.doi.org/10.5325/utopianstudies.35.1.0152.

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ABSTRACT This article attempts a critical conversation between Kafka’s Der Prozess (posthumously published in 1925, translated into English as The Trial in 1937) and two novels from the Mediterranean Basin. The Turkish author Bilge Karasu’s Gece (1985, translated into English as Night by Güneli Gün in 1994) responds to the national conflicts intensified by the military coup in Türkiye (Turkey) in the 1980s with its dark portrayal of political conspiracies and unhinged violence. Almost thirty years later, Aziz conveys a similar sense of social chaos and political disillusionment: her novel Al-Ṭābūr (2013, translated into English as The Queue by Elisabeth Jaquette in 2016) addresses the aftermath of the 2011 Egypt uprising. In addition to the social critique that shapes the dystopian allegories of the novels, Kayışcı Akkoyun examines the discursive conflicts and gaps through which Kafka, Karasu, and Aziz expose the constructed nature of oppressive structures and the arbitrariness of authority. She argues that the disjointed dystopian narratives of Kafka, Karasu, and Aziz not only portray the horrors witnessed at a particular place and time but also share a common utopian vision that extends to the future through the authors’ imaginative struggle against totalizing forces of uneven modernization.
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Dissertations / Theses on the topic "English Allegories"

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Fick, Angelo Carlo. "Limited possibilities : agency and subaltern subjectivity in four South African allegories." Master's thesis, University of Cape Town, 1998. http://hdl.handle.net/11427/17940.

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Bibliography: pages. 197-211.
This thesis examines the representation of the negotiation of black women's subjectivity in four South African allegorical novels. Using aspects of postmodern discourse, and feminist and postcolonial literary and cultural theories on identity formation and subjectivity, I propose that it is in the allegorical mode that the four writers are able to offer black women as female gendered subalterns the space to negotiate subjectivity and to assert agency. Given the history of sexism, racism and imperialism in South Africa, the politics of place impact crucially on the practice of writing literature, so that the tensions between the representation of others and self-representation becomes crucial in identity formation. Through the four texts, I propose that there is a spectrum of practices, and that each offers different possibilities for black women's subject formation: from the most limiting liberal discourses, through the interrogation of those discourses, to an autobiographical moment of self-reclamation.
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Lilford, Charles Grant. "Allegories of drought and of gardens in the novels of J.M. Coetzee and Dambudzo Marechera." Doctoral thesis, University of Cape Town, 1996. http://hdl.handle.net/11427/18705.

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This thesis examines the trope of Allegory in the work of two Southern African writers, JM Coetzee and Dambudzo Marechera. It discusses the trope's use in redefining the dominant theme of the dialectic between scarcity and plenty. In much of Southern African literature, this dialectic is expressed allegorically. Drought represents a physical and spiritual lack while gardens represent human attempts to respond to that lack by creating fertility and meaning. The thesis is based on the premise that Southern African literature is best understood from as wide a perspective as possible. Coetzee and Marechera redefine the form and the content of a variety of texts, both African and non-African. In order to study this process of redefinition more closely, I have placed the work of each writer within the context of other genres of writing. Many critics view Marechera's writing as modernistic and European. I attempt to establish his unconscious reliance upon African traditional narrative, particularly the Shona rungano. Marechera uses Shona orature as a mythic pre-text for the more explicitly allegorical sections of his House of Hunger. Similarly, several of Coetzee's novels allegorise concerns around drought found in novels of settlement in Southern Africa. Both writers work within a more global tradition of writing about scarcity and plenty. The garden also appears in Homer, Milton, Rousseau, Voltaire, Dickens and Rushdie, among others, as a site of refuge from poverty and oppression. Contextual chapters examine other texts handling these related themes as background for those chapters which deal with Marechera and Coetzee's work in depth. The thesis makes use of the twentieth-century theory of allegory, particularly as presented by Edwin Honig, Angus Fletcher and Maureen Quilligan. It examines the relationship between consciously allegorical texts, like those written by Coetzee and Marechera, and the unconscious and ubiquitous . use of allegory as an instrument of rhetoric in ostensibly realistic or philosophical texts. Coetzee and Marechera use allegory in critiquing dominant forms of discourse and this thesis uses close critical reading to expose the links between their allegory and its pre-texts.
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Yang, Ruei-Yang. "From exotic dreams to political allegories : The representation of animals in postwar English travel writings." Thesis, University of York, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.516567.

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Heuer, Thomas. "Plotting Horror." Doctoral thesis, Humboldt-Universität zu Berlin, 2019. http://dx.doi.org/10.18452/19947.

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Die Entwicklungsschübe der modernen Medien im 20. Jahrhundert haben die Wechselbeziehungen zwischen den Künsten, den Medien, den Sinnesmodalitäten, den verbalen und nonverbalen Ausdrucks- und Zeichenprozessen verstärkt und erweitert. Im Zuge dieser Entwicklungen sind Genre- und Formatfragen über das disziplinäre Interesse einzelner Kunst- und Medienwissenschaften hinaus ins Aufmerksamkeitsfeld einer vergleichenden Medienästhetik und -dramaturgie ge-rückt. Aufbauend auf den Erkenntnissen von Kalisch 2014, 2016 und den Überlegungen Gaudreaults 2009 zu einer Unterscheidung zwischen Narration und Monstration, ist es gelungen ein Modell zur Analyse von Werken unter dem Ausgangspunkt von Dramaturgie und Präsentationsstruktur herauszubilden, das für jedwedes dramaturgisch motiviertes und fiktionales Werk verwendet werden kann, unab-hängig vom Medium. Als Mittel zur Verdeutlichung der Thesen wird Horror als ästhetische Kategorie definiert, die einen direkten Einfluss auf die narrativen Strukturen eines Werkes besitzt, was den narrativ-monstrativen Doppelcharakter von Werken belegt und ferner verdeutlicht, dass Erzählung und Formung eines Werkes untrennbar verbunden sind. Die Dualität von Dramaturgie und Präsenta-tionsstruktur wird in der Formung eines Werkes offenbar. Um dies zu verdeutli-chen, werden im Verlauf der Arbeit kursorisch Beispiele von Werken mit Schre-ckensinhalten diskutiert und analysiert. Basierend auf diesem Modell wird eine Diskussion des Themenkomplexes von Intermedialität und Transmedialität im Spannungsverhältnis zur Komparistik der Künste durchgeführt. In der Folge wird eine Ästhetik des Schreckens diskutiert und anhand von ästhetischen Wertungskategorien aufgezeigt. Abschließend werden drei narrativ-motivierte Konzeptionen für dramaturgisch angetriebene Schre-ckensinszenierungen aufgeführt, die zur Kategorisierung von Werken angewendet werden können: düstere Präfiguration, düstere Konfiguration und düstere Manifestation.
The development in modern media during the 20th century (from movies over television to the hybrid forms of audiovisual and textual media in the internet) reveals interdependencies between art, media, the modalities of senses, the verbal and nonverbal dictions and semiotic processes that have evolved and expanded themselfes. According to this progress the interest in art and media studies should achive a collective interest in the changes of genre and formats, instead of a sepa-rated observation of only single disciplines. Following the Prolegomena on a comperative drama of media by Eleonore Ka-lisch (Kalisch 2014) and the thougts of André Gaudreault on Narration and Mon-stration (Gaudreault 2009) this thesis bulids a system to analyse works of fiction (e. g. movies, pictures, literature, video games). This system allows to analyse and compare works of fiction based on drama and presentation structure. The horror genre is used to show the mechanics of this system. Horror has a direct influence on the narrative structure of a work and manifests a duality of narration and mon-stration (Kalisch 2016), that binds drama and presentation to each other and shows the necessity of a separated consideration on both aspects. The duality of drama and presentation reveals itself during the modeling of a work of fiction. Build on the system the discourse is open to discuss intermetiality and transmedi-ality and their influence on the field of interest. Furthermore, an aesthetic of hor-ror is defined by evaluation categories of aesthetic indicators. In the end three types of narrativ driven concepts of horror are revealed and discussed: gloomy pre-figuaration, gloomy configuration and gloomy manifestation.
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Books on the topic "English Allegories"

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Wells, Lynn. Allegories of telling: Self-referential narrative in contemporary British fiction. Amsterdam: Rodopi, 2003.

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Timothy, Murray. Theatrical legitimation: Allegories of genius in seventeenth-century England and France. New York: Oxford University Press, 1987.

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Timothy, Murray. Theatrical legitimation: Allegories of genius in seventeenth-century England and France. New York: Oxford University Press, 1987.

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Jaynie, Anderson, ed. Hume and the heroic portrait: Studies in eighteenth-century imagery. Oxford: Clarendon Press, 1986.

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Bach, Richard. Mavi tuy: Gonulsuz bir mesihin seruvenleri. Istanbul: Puhu, 1986.

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Bach, Richard. Illusions: Le messie récalcitrant. Paris: J'ai lu, 1999.

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Bach, Richard. Illusions: [the adventures of a reluctant Messiah]. London: Mandarin, 1995.

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Bach, Richard. Illusions. London: Mandarin, 1992.

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Bach, Richard. Illusions: Le messie récalcitrant. Paris: J'ai lu, 1994.

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Komarova, V. P. Metafory i allegorii v proizvedenii͡a︡kh Shekspira. Leningrad: Izd-vo Leningradskogo universiteta, 1989.

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Book chapters on the topic "English Allegories"

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Raschko, Mary. "Ethical allegories." In The politics of Middle English parables. Manchester University Press, 2018. http://dx.doi.org/10.7765/9781526131188.00009.

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Maher, Brigid. "‘La dolce vita’ meets ‘the nature of evil’: the paratextual positioning of Italian crime fiction in English translation." In Translating National Allegories, 42–55. Routledge, 2019. http://dx.doi.org/10.4324/9781315161778-3.

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LOCK, LÉON E. "Netherlandish Allegories of Madness in English Perspective." In Burning Bright, 16–26. UCL Press, 2015. http://dx.doi.org/10.2307/j.ctt1g69z6q.5.

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"3. ALLEGORIES OF THE ENGLISH REFORMATIONS: DRAMA, POETRY, AND FICTION." In Voices of the English Reformation, 89–178. University of Pennsylvania Press, 2004. http://dx.doi.org/10.9783/9780812200805.89.

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Christian, Margaret. "Saracens, Assyrians, and Spaniards: allegories of the Armada." In Spenserian Allegory and Elizabethan Biblical Exegesis. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9780719083846.003.0007.

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When the Spanish invasion force of 1588 met with successful English resistance and disastrous weather, losing thousands of men and 62 of 130 ships, contemporary observers and participants on both sides believed the outcome reflected God’s intervention. English sermons used Bible stories to develop a patriotic and providentialist interpretation of the gathering threat and subsequent Spanish defeat. Sermons before the attempted invasion, by Thomas Drant, Meredith Hanmer, and William Gravet, demonstrate the comparison preachers drew a between Islam and Roman Catholicism (as Spenser created a Muslim sultan to represent the Roman Catholic Spanish threat). Sermons celebrating the English victory, by John Prime, Thomas White, Roger Hackett, and Stephen Gosson, show that Spenser and the preachers drew on the same biblical theme of God’s judgment and motifs of horses, chariot, and hardware.
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"Allegories of prescription: engendering Union in Owenson and Edgeworth." In Allegories of Union in Irish and English Writing, 1790–1870, 51–81. Cambridge University Press, 2000. http://dx.doi.org/10.1017/cbo9780511484766.003.

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"Allegories of Ruin and Redemption: Michael Ondaatje’s The English Patient." In Rewriting Apocalypse in Canadian Fiction, 53–82. McGill-Queen's University Press, 2005. http://dx.doi.org/10.1515/9780773572942-004.

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"Edmund Spenser, Allegory and the chivalric epic (I 590)." In English Renaissance Literary Criticism, edited by Brian Vickers, 297–301. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198186793.003.0012.

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Abstract Sir, knowing how doubtfully all allegories may be construed, and this book of mine, which I have entitled The Faerie Queene, being a continued allegory, or dark conceit, I have thought good as well for avoiding of jealous* opinions and misconstructions, as also for your better light in reading thereof (being so by you commanded), to discover* unto you the general intention and meaning which in the whole course thereof I have fashioned, without expressing of any particular purposes or by-accidents* therein occasioned. The general end there­fore of all the book is to fashion a gentleman or noble person in vir­tuous and gentle discipline. Which, for that I conceived should be most plausible* and pleasing, being coloured with an historical fiction, the which the most part of men delight to read, rather for variety of matter than for profit of the example: I chose the history of King Arthur as most fit for the excellency of his person, being made famous by many men's former works, and also furthest from the danger of envy and suspicion of present time.
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"Introduction." In Allegories of Union in Irish and English Writing, 1790–1870, 1–20. Cambridge University Press, 2000. http://dx.doi.org/10.1017/cbo9780511484766.001.

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"Public affections and familial politics: Burke, Edgeworth, and Ireland in the 1790s." In Allegories of Union in Irish and English Writing, 1790–1870, 21–50. Cambridge University Press, 2000. http://dx.doi.org/10.1017/cbo9780511484766.002.

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