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Relevant bibliographies by topics / Moral allegory

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Academic literature on the topic 'Moral allegory'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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Journal articles on the topic "Moral allegory"

1

Johnson, William C., and Sean Kane. "Spenser's Moral Allegory." Sixteenth Century Journal 22, no. 1 (1991): 120. http://dx.doi.org/10.2307/2542025.

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Thomas, John A., and Sean Kane. "Spenser's Moral Allegory." Rocky Mountain Review of Language and Literature 43, no. 4 (1989): 250. http://dx.doi.org/10.2307/1347018.

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Bensick, Carol M. "Hawthorne's Tragicomic Mode of Moral Allegory." Rocky Mountain Review of Language and Literature 43, no. 1/2 (1989): 47. http://dx.doi.org/10.2307/1347189.

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Marquis, Paul A. "Spenser’s Moral Allegory by Sean Kane." ESC: English Studies in Canada 17, no. 1 (1991): 118–22. http://dx.doi.org/10.1353/esc.1991.0046.

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Bensick, Carol M. "Hawthorne's Tragicomic Mode of Moral Allegory." Rocky Mountain Review 43, no. 1-2 (1989): 47–59. http://dx.doi.org/10.1353/rmr.1989.0021.

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Thomas, John A. "Spenser's Moral Allegory by Sean Kane." Rocky Mountain Review 43, no. 4 (1989): 250–52. http://dx.doi.org/10.1353/rmr.1989.0046.

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Walters, Lori. "Parody and Moral Allegory in Chantilly MS 472." MLN 113, no. 4 (1998): 937–50. http://dx.doi.org/10.1353/mln.1998.0061.

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Rumph, Stephen. "Allegory and Ethics in Beethoven’s Fidelio." Enjeux éthiques et valeurs morales en histoire de la musique 11, no. 1-2 (November 21, 2018): 47–60. http://dx.doi.org/10.7202/1054023ar.

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Few operas foreground ethics as clearly as Beethoven’s Fidelio. Yet the heroic tale of liberation from political oppression resists narrowly historical interpretations, availing itself equally to revolutionary and reactionary interpretations. Allegory theory offers a new approach to the ethical meanings of Fidelio. Allegory, in which characters embody moral qualities, preserved a hierarchical and theocentric view of society, in opposition to the humanistic outlook of Enlightenment mimesis. Allegory and mimesis coexist in Fidelio, whose title character traces a lineage to the Christian morality play. This essay compares the 1805 original of Beethoven’s opera (Leonore) with the 1814 version (Fidelio), concentrating on the final scene and the character of Marzelline. I argue that the 1814 version enhances the allegorical dimension, simplifying the characters and reducing moral complexities. Fidelio models the traditional “consensus society” of pre-Revolutionary Europe, offering a vision congenial to Congress of Vienna audiences.

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Stern, Barbara B. "Medieval Allegory: Roots of Advertising Strategy for the Mass Market." Journal of Marketing 52, no. 3 (July 1988): 84–94. http://dx.doi.org/10.1177/002224298805200308.

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The author examines the medieval literary tradition of allegory and relates it to contemporary advertising. Allegory is characterized by the use of metaphor, personification, and moral conflict. This tradition is the basis of advertisements that use fear to convey didactic instruction to mass audiences. The author describes the use of allegory in advertising strategy in terms of message appeal, product benefits, target audience, and media design. Five areas for future research are suggested: content analysis of allegorical advertisements, cross-cultural implications, fear and guilt appeals, taxonomy of personifications as presenters, and effects of metaphors and symbols on advertising recall and comprehension.

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Hosle, Paul. "The Allegory of the Cave, the Ending of the Republic, and the Stages of Moral Enlightenment." Philologus 164, no. 1 (June 3, 2020): 66–82. http://dx.doi.org/10.1515/phil-2020-0103.

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AbstractThis essay aims to shed new light on the stages of moral enlightenment in the Allegory of the Cave, of which there are three. I focus on the two stages within the cave, represented by eikasia and pistis, and provide a phenomenological description of these two mental states. The second part of the essay argues that there is a structural parallelism between the Allegory of the Cave and the ending of the Republic. The parallelism can be convincingly demonstrated by a purely formal analysis, but additionally it complements and reinforces the original interpretation of the Cave, insofar as the ending of the Republic also mirrors, on the level of content, the previously adduced stages of moral enlightenment.

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Dissertations / Theses on the topic "Moral allegory"

1

Kolbinger, Valerie Renee. ""Phosphoric glimmers" in Eden Coverdale's failed allegory and Hawthorne's moral in The Blithedale Romance /." [Ames, Iowa : Iowa State University], 2008.

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Kessler, Samuel Robert. "Theological grace in Spenser's poetry." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365504.

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Burghgraeve, Delphine. "De couleur historiale et d'oudeur de moralité ˸ poétique et herméneutique de l'histoire antique dans la Bouquechardière de Jean de Courcy (1416)." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA029.

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La Bouquechardière est une histoire universelle moralisée écrite à partir de 1416 par Jeande Courcy, un chevalier normand. En dépit de cette appropriation plutôt inhabituelle d’un genrehistorique particulièrement ancré dans la théologie, le texte de Jean de Courcy a peu suscitél’intérêt de la critique. Notre présent travail vient combler cette lacune en questionnant lamanière dont l’auteur laïque revisite les codes historiques et homilétiques qui constituaientjusque-là l’apanage des clercs. À un niveau plus large, notre étude permet aussi de cernerdavantage la variabilité d’un panorama auctorial et d’une communication littéraire en pleineévolution à la fin du Moyen Âge. Issu d’une culture laïque, Jean de Courcy doit imposer sacrédibilité à la fois intellectuelle et morale dans le champ des écritures. Sans usurper les rôlesdu clerc ou de l’intellectuel, il crée sa propre fonction auteur : celle de l’écrivain amateur quifonde sa légitimité sur une expérience acquise dans le monde, une accumulation du savoir parla lecture et une attitude dévotionnelle. Son approche chrétienne et édifiante de la lecturedétermine le choix d’écrire une histoire antique à une époque où les écrivains ont plutôttendance à réagir à l’actualité. En effet, la manière dont il ordonne, compile, sélectionne etrecompose la matière trahit une forte soumission de l’histoire à la perspective eschatologique.Traçant un continuum historique des acteurs de l’Antiquité jusqu’au lecteur contemporain, lecompilateur crée les conditions nécessaires à son actualisation. La finalité spirituelle de lalecture autorise alors l’insertion surprenante des fables ovidiennes dans la trame historique. Lafiction mythologique historicisée contient un potentiel herméneutique : elle s’offre comme unsigne de Dieu à déchiffrer au moyen d’une méthode analogique et allégorique. C’est donc enlecteur modèle que Jean de Courcy apprend à son lecteur à fixer le sens des mots et des chosespour qu’au moment de refermer le livre, le processus de refiguration de l’histoire voit le jour.En d’autres termes, la lecture mène à la conversion spirituelle
The Bouquechardière is a moralized universal history written from 1416 by Jean deCourcy, a Norman knight. Despite this rather unusual appropriation of a historical genreparticularly rooted in theology, Jean de Courcy's text has not aroused much critical interest. Ourpresent work fills this gap by questioning the way in which the lay author revisits the historicaland homiletic codes that were until then the prerogative of clerics. On a broader level, our studyalso makes it possible to better identify the variability of an auctorial panorama and a literarycommunication in full evolution at the end of the Middle Ages. Coming from a secular culture,Jean de Courcy must impose his intellectual and moral credibility in the field of writing.Without usurping the roles of the cleric or the intellectual, he creates his own « fonctionauteur »: an amateur writer who bases his legitimacy on an experience acquired in the world,an accumulation of knowledge through reading and a devotional attitude. His Christian andedifying approach to reading determines the choice to write an Ancient History at a time whenwriters tend to react to current events. Indeed, the way in which he ordered, compiled, selectedand recomposed the material reveals a strong submission of history to the eschatologicalperspective. Tracing a historical continuum from the actors of Antiquity to the contemporaryreader, the compiler creates the necessary conditions for its actualisation. The spiritual purposeof the reading then allows the surprising insertion of Ovidian fables into the historicalframework. Historicalized mythological fiction contains a hermeneutical potential : it is offeredas a sign of God to be deciphered by using an analogical and allegorical method. It. As a modelreader, Jean de Courcy teaches his own reader to fix the meaning of words and things, so thatwhen the book is closed, the process of « refiguration » of history is born. In other words, thereading leads to spiritual conversion

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Rodrigues, Perrine. "Le discours des vices et des vertus aux époques carolingiennes et ottonienne. De l'écrit à l'image (IXe - XIe siècle)." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE3058/document.

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Le discours des vices et des vertus est une étude qui porte sur la définition des notions de bien et de mal, de droit et d’interdit dans le cadre de la renouatio carolingienne, débutée sous le règne de Charlemagne et poursuivit sous ses successeurs, puis redynamisée sous le règne des Ottoniens. Les genres littéraires et artistiques où apparaissent les allégories des vices et des vertus constituent un corpus très varié de sources (judiciaire, morale, iconographique…). La diversité des sources permet de faire émerger la définition d’un idéal permettant de conduire l’homme à son salut, tout en mettant en place des codes moraux et une norme qui permettent d’encadrer la société dans tous les domaines
The discourse of vices and virtues is a study which deals with the definition of the notions of good and evil, law and prohibition in the context of Carolingian renouatio, begun under the reign of Charlemagne and continued under his successors, then revitalized under the reign of Ottonians. The literary and artistic genres in which allegories of vices and virtues appear, constitute a very varied corpus of sources (judicial, moral, iconographic, etc.). The diversity of sources makes it possible to emerge the definition of an ideal allowing to lead the man to his salvation, while setting up moral codes and a norm which make it possible to regulate the society in all areas

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Books on the topic "Moral allegory"

1

Spenser's moral allegory. Toronto: University of Toronto Press, 1989.

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2

Seventeenth-century English romance: Allegory, ethics, and politics. New York: Palgrave Macmillan, 2007.

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Yeardon, John. Unbelievable stories incorporating the travails of Blind Bifford Jelly: A moral allegory concerning the adventures andhumours of Blind Biff in a world created, considered as a dream : an exhibition of 100 drawings. Coventry: Lanchester Gallery, Faculty of Art and Design, Coventry Polytechnic, 1988.

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La virtù e il tempo: Giorgione : allegorie morali, allegorie civili. Venezia: Marsilio, 2011.

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5

Zurcher, Amelia A. Seventeenth-Century English Romance: Allegory, Ethics, and Politics. Palgrave Macmillan, 2007.

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Zeeman, Nicolette. The Arts of Disruption. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198860242.001.0001.

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The Arts of Disruption offers a series of new readings of the allegorical poem Piers Plowman: but it is also a book about allegory. It argues not just that there are distinctively disruptive ‘arts’ that occur in allegory, but that allegory, because it is interested in the difficulty of making meaning, is itself a disruptive art. The book approaches this topic via the study of five medieval allegorical narrative structures that exploit diegetic conflict and disruption. Although very different, they all bring together contrasting descriptions of spiritual process, in order to develop new understanding and excite moral or devotional change. These five structures are: the paradiastolic ‘hypocritical figure’ (such as vices masked by being made to look like ‘adjacent’ virtues), personification debate, violent language and gestures of apophasis, narratives of bodily decline, and grail romance. Each appears in a range of texts, which the book explores, along with other connected materials in medieval rhetoric, logic, grammar, spiritual thought, ethics, medicine, and romance iconography. These allegorical narrative structures appear radically transformed in Piers Plowman, where the poem makes further meaning out of the friction between them. Much of the allegorical work of the poem occurs at the points of their intersection, and within the conceptual gaps that open up between them. Ranging across a wide variety of medieval allegorical texts, the book shows from many perspectives allegory’s juxtaposition of the heterogeneous and its questioning of supposed continuities.

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Mariani, Giorgio. Waging War on the Sacred. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039751.003.0007.

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This chapter examines William Faulkner's war novel A Fable, which, by rethinking the story of the Passion of Christ as a World War I tale, criticizes both the ideology of war and those readings of the Scriptures that sustain the theory and the practice of war. Notwithstanding the implausibility of the story, in which a figura Christi leads the mutiny of a French battalion, the allegory implies an ethical and political moral that, in the eyes of many critics, makes the text cheaply didactic. Joseph Urgo argues that with A Fable Faulkner tries to renovate our faith in the Scriptures “by supplanting Christ as a figure of authoritarian control and by replacing the martyr with the rebel.” This chapter discusses the themes of Christianity, pacifism, and sacrifice in A Fable and argues that Faulkner's fiction underscores the equivalence between violence and the sacred by juxtaposing to a sacrificial reading of the Gospels an antisacrificial interpretation.

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Book chapters on the topic "Moral allegory"

1

Carr, David. "From character to parable and allegory: varieties of moral imagination in fictional literature." In Literature and Character Education in Universities, 103–16. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003162209-6.

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Thomas, Alfred. "Pride and Penitence: Political and Moral Allegory in Medieval Arthurian Romance and Richard II." In Shakespeare, Catholicism, and the Middle Ages, 29–74. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90218-0_2.

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"10. Moral Allegory: Admonitory and Pax Portals and the Tympanum of Jaca." In The Allegory of the Church. Toronto: University of Toronto Press, 1998. http://dx.doi.org/10.3138/9781442680487-012.

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"6. Moral Fantasie: Normative Allegory in Lollard Writings." In Feeling Like Saints, 205–38. Cornell University Press, 2017. http://dx.doi.org/10.7591/9780801470998-009.

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Gardner, Catherine Villanueva. "Allegory and Moral Philosophy in Christine de Pisan’s." In Women Philosophers, 47–80. Routledge, 2018. http://dx.doi.org/10.4324/9780429503009-3.

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"The Renaissance Afterlife of Boethius’s Moral Allegory of Fortuna." In In Fortune's Theater, 112–30. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108920674.007.

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Christian, Margaret. "Introduction: a context for The Faerie Queen." In Spenserian Allegory and Elizabethan Biblical Exegesis. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9780719083846.003.0001.

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Spenser described his allegorical epic to his friend Walter Raleigh as an alternative to straightforward moral and religious teaching. This book seeks to put Spenser’s project in context by introducing readers to Spenser’s reference point—16th century sermons, homilies, and liturgies—particularly their use of biblical types for contemporary individuals and concerns. In contrast to deconstructive, gender-based, or psychoanalytic studies, this book attempts to read The Faerie Queene as its first readers might have done. Sermon studies by A. F. Herr, Peter Blench, Millar MacLure, and Peter McCullough and his collaborators are useful guides; many printed sermons are available on the database Early English Books Online. An outline of the book’s nine chapters and acknowledgements close the introduction.

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Christian, Margaret. "Allegorical reading in sermon references to history and current events." In Spenserian Allegory and Elizabethan Biblical Exegesis. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9780719083846.003.0004.

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Elizabethan preachers and homilists embraced providentialism, looking to history, both biblical and secular, to read universal moral principles and God’s eternal purposes in their contemporary scene. According to John Aylmer, Esther was a type of Anne Boleyn while Mordechai figured Archbishop Cranmer; Richard Curteys saw Athaliah as a type of Mary Tudor, and David foreshadowed Elizabeth. According to William Barlow, the Roman Coriolanus typified the Earl of Essex, while the earl perversely saw himself as David and Elizabeth as Saul—an identification Barlow took seriously enough to refute at some length. Thomas Holland, preaching on Accession Day, recounted the positive attributes and godly behaviour of the Queen of Sheba without explicitly identifying her with Elizabeth, demonstrating how adept sermon-goers were expected to be at the kind of allegorical reading The Faerie Queene demands.

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Christian, Margaret. "“The ground of Storie”: genealogy in biblical exegesis and the Legend of Temperance." In Spenserian Allegory and Elizabethan Biblical Exegesis. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9780719083846.003.0005.

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Elizabethans thought genealogy offered a key to character, as shown by their analyses of the discrepancies between the lists of Christ’s forebears in the gospels of Matthew and Luke. Since spiritual kinship was a criterion for inclu¬sion in such a list, preachers like Richard Curteys and Edwin Sandys demonstrate that Elizabeth’s family tree properly included biblical ancestors. In the chronicle history cantos, Spenser, with a similar concern to capture Elizabeth’s essential nature, provided the queen with spiritually significant ancestors from pre-history and from invention. Awareness of the cultural resources Spenser used in creating (and his first readers used in making sense of) these lists of ancestors relieves us of the burden of distilling a consistent moral and political message from Briton moniments and Antiquitie of Faerie lond.

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Christian, Margaret. "“Waues of weary wretchednesse”: Florimell and the sea." In Spenserian Allegory and Elizabethan Biblical Exegesis. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9780719083846.003.0006.

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This chapter examines sermon uses of the image of the sea and the ship to demonstrate that the ocean, for Elizabethans, represented not only a realm of magic and fertility but also the spiritual dangers of the world, the flesh, and the devil. Sermons by Stephen Gosson, Richard Madox, Robert Wilkinson (among others) as well as Geneva Bible illustrations and glosses, provide parallels for Britomart’s lament at III.iv and a key to the moral meaning of the various settings of Florimell’s adventures: her near-rape by the fisherman, imprisonment by Proteus at III.viii-ix, and rescue by Cymoent in IV.xii. The sea setting sharpens the point of narrative references to divine intervention, and the sermons show how these episodes’ sea settings make sense for Spenser’s dramatizing the incompleteness of the single life that propels men and women toward their destiny of married love.

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