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Journal articles on the topic 'Moral allegory'
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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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TAUSIET, MARÍA. "Taming Madness: Moral Discourse and Allegory in Counter-Reformation Spain." History 94, no. 315 (July 2009): 279–93. http://dx.doi.org/10.1111/j.1468-229x.2009.00455.x.
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Eidinow, J. S. C. "A Note on Horace, Epistles 1.2.26 and 2.2.75." Classical Quarterly 40, no. 2 (December 1990): 566–68. http://dx.doi.org/10.1017/s0009838800043226.
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Scholars have long seen that Horace's treatment of Homer in this Epistle demands to be read in the tradition of moral allegory in which Ulysses becomes the type of the ‘man of virtue’ (‘rursus quid virtus et quid sapientia possit / utile proposuit nobis exemplar Ulixen’, 17–18): on such a reading, Circe becomes an allegory of foolish passion ‘to which Ulysses’ companions give in through their stultitia, and because of which they lose their reason and become no better than animals. Antisthenes, from whose writings such an allegorising approach probably developed, was regarded as an early Cynic, and the idea became the special province of Cynic-Stoic philosophy; scholars have therefore felt justified in seeing this epistle as a criticism of Epicureanism, represented by the sponsi Penelopae, nebulones, Alcinoique … iuventus, from the point of view of a Cynic or a syncretistic Stoic.
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Stefani, Sara. "The Unified State and the Unified Mind: Social and Moral Utopia in Zamiatin's We and Plato's Republic." Canadian-American Slavic Studies 45, no. 3-4 (2011): 263–88. http://dx.doi.org/10.1163/221023911x567579.
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AbstractScholars have often attempted to determine the objects of Zamiatin's satire in his dystopian novel We as well as the model on which he based the structure of his Edinoe Gosudarstvo. This article argues that in order to find the model that Zamiatin used, we should look to the exemplar of utopia itself, Plato's Republic. Plato's vision of the ideal social structure is meant to serve as an allegory for the ideal individual as well as an allegory for morality. Both the collective body and the individual mind are supremely moral, in Plato's view, when all irrational parts are subjugated to reason and rationality and marked by total unity. This article traces debates about Plato's Republic by Russian thinkers in the period just before and immediately after the Revolution, i.e., prior to the period when Zamiatin wrote We, in order to argue for the relevance of Plato in Russian society of the time. In many of these writings, Plato is identified as an ancient source of the ideals of socialism and communism. The close textual parallels between Republic and We are examined, from the broadest level of social organization to the appropriation of Plato's famous images of the Sun, the Line, and the Cave. In his novel, Zamiatin seems to question not only Plato's political vision, but his conceptions of truth, justice, and morality.
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Lethbridge, J. B. "Raleigh in books III and IV ofThe Faerie Queene: The primacy of moral allegory." Studia Neophilologica 64, no. 1 (January 1992): 55–66. http://dx.doi.org/10.1080/00393279208588086.
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Bieman, Elizabeth. "Spenser's Moral Allegory Sean Kane Toronto: University of Toronto Press, 1989. xiv + 237 p." Studies in Religion/Sciences Religieuses 19, no. 4 (December 1990): 510. http://dx.doi.org/10.1177/000842989001900427.
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Wirthensohn, Simon. "Der Jugurtha-Stoff als Allegorie des Österreichischen Erbfolgekriegs?" Daphnis 48, no. 3 (June 20, 2020): 462–82. http://dx.doi.org/10.1163/18796583-04803004.
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The tragedy Jugurtha by the Tyrolean playwright Joseph Resch, staged as a school end play at the bishop school of Brixen in 1746, lacks a consistent moral message. For this reason, the recipient is obliged to turn towards another form of interpretation. As this article aims to show, Resch probably intends to use the Jugurtha plot as an allegory of the fall of Charles vii. and the peace agreement between Bavaria and the Habsburgs in the Treaty of Füssen in 1745.
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Lyon, Elizabeth L. "‘Magis corde quam organo’: Agazzari, Amadino, and the hidden meanings of Eumelio." Early Music 48, no. 2 (May 2020): 157–76. http://dx.doi.org/10.1093/em/caaa025.
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Abstract Some time after Christmas 1605, Agostino Agazzari (1578–1640) was asked to provide music for a pastoral drama, Eumelio; it was performed a month later during Carnival at the Jesuit-run Seminario Romano. In the preface to the subsequently published score (Venice: Amadino, 1606), Agazzari tells his readers that he agreed to the commission ‘because of the beautiful and useful allegory that I saw in [the libretto]’. What this beautiful and useful allegory was, however, has not been apparent to modern scholars. Margaret Johnson goes so far as to write that ‘It is perhaps unfortunate that Agazzari even mentioned the presence of a moral; it might otherwise have been overlooked, since its presence is obtrusive only in the composer’s preface’. This article offers an interpretation of the allegory of Eumelio by reading the opera as a commentary on the musical and spiritual teachings of Council of Trent, to which the printer’s mark of Agazzari’s publisher, Ricciardo Amadino, paratextually alludes. Although Amadino was the printer of some of the most famous prints of the Seicento (including Monteverdi’s Orfeo and Fifth Book of Madrigals), his printer’s mark and motto, ‘more with the heart than with the organ’, has not been commented upon in modern scholarship. The motto’s possible sources and its contemporary resonances and meanings point to an understanding of Eumelio as an allegory of Christian soteriology and the Christian musician. The opera externalizes and dramatizes the kinds of inner examination that many believed were incumbent on musicians in a post-Trent musico-religious culture. As a performed and printed work, then, Eumelio gave musicians pause to reflect on their inner lives, the purpose of their musical activities, and the kinds of motivations they acted upon in performance.
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Gough, Melinda J. "Tasso’s enchantress, Tasso’s captive woman*." Renaissance Quarterly 54, no. 2 (2001): 523–52. http://dx.doi.org/10.2307/3176786.
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This essay offers two discoveries concerning lasso's poetics. First, it identifies in theDiscourses on the Heroic Poema critique of allegory on both aesthetic and moral grounds, one that explainsJerusalem Delivered'sabandonment of the “temptress-turned-hag” motif Second, it demonstrates that Armida and Erminia are closely linked to the “captive woman “ topos used by Jerome and Boccaccio to justify Christian adaptations of pagan literature and rhetoric. It is the hermeneutic dimension of this motif that allows Tasso plausibly to convert these beautiful pagan women (and the poetic pleasures they embody) to the exigencies of Christian epic.
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Berthelot, Katell. "Philo of Alexandria and the Conquest of Canaan." Journal for the Study of Judaism 38, no. 1 (2007): 39–56. http://dx.doi.org/10.1163/157006307x170616.
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AbstractAccording to the Torah, the Hebrews were commanded either to expel or to exterminate the Canaanites who were living in Canaan at the time of the conquest. Philo seems to feel rather ill-at-ease about the literal meaning of these biblical passages. Besides allegory, he uses four hermeneutical strategies: 1) to pass over the problematic texts in silence; 2) to play with the meaning of certain Greek words; 3) to justify the destruction of the Canaanites from a moral point of view; 4) to rewrite the biblical account.
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Baker-Smith, D. "Elizabeth Bieman, Plato Baptized: Towards the Interpretation of Spenser's Mimetic Fictions; Sean Kane, Spenser's Moral Allegory." Literature and Theology 6, no. 1 (March 1, 1992): 99–101. http://dx.doi.org/10.1093/litthe/6.1.99.
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Kamaladdini, Seied Mohammad Bagher. "Tales and Allegories of Vision Ghazali and Rumi." International Letters of Social and Humanistic Sciences 21 (February 2014): 20–25. http://dx.doi.org/10.18052/www.scipress.com/ilshs.21.20.
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Among many tribes and nations fiction has a long history as a popular entertainment. The importance of stories is no secret. The meanings of the stories are quite concrete and contacts, events, and eventually finds it earlier. The Persian speakers from early to latet, moral themes, mysticism, religion and other things have taken advantage of this genre. The analogy is meant to provide an example of the eloquence and understanding has long had an important role and are responsible. It is also seen in ancient books and scriptures. Instead, it's like taking the analogy a little word to the land. In this allegory, Masnavi stories and ehya’al oloom are analyzed.
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Loshitzky, Yosefa. "The Post-Holocaust Jew in the Age of "The War on Terror": Steven Spielberg's Munich." Journal of Palestine Studies 40, no. 2 (January 1, 2011): 77–87. http://dx.doi.org/10.1525/jps.2011.xl.2.77.
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As a film about "terror" spilling over from its local context (the struggle over Palestine) into the global arena, Munich transcends the specificity of the so-called "Palestinian question" to become a contemporary allegory of the Western construct of "the war on terror." The essay explores the boundaries and contradictions of the "moral universe" constructed and mediated by the film, interpreted by some as a dovish critique of Israeli (and post-9/11 U.S.) policy. Along the way, the author probes whether this "Hollywood Eastern" continues the long Zionist tradition seen in popular films from Exodus onwards, or signals a rupture (or even latent subversion) of it.
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Wright, Charles D. "The blood of Abel and the branches of sin: Genesis A, Maxims I and Aldhelm's Carmen de uirginitate." Anglo-Saxon England 25 (December 1996): 7–19. http://dx.doi.org/10.1017/s0263675100001903.
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The Old English Genesis A, in a moralizing expansion of the biblical narrative, describes how sin sprouted and spread in evil branches from the blood of the murdered Abel:Critical discussion of this passage has reflected a basic disagreement about the presence of allegory in the poem. Bernard F. Huppé finds three levels of meaning in the passage:Literally, the descendants of Cain, born after his sins, are a progeny of affliction, because they perished in the Flood. Symbolically, they are children of affliction because they dwell in the City of Babylon, of which Cain is the spiritual founder. In its moral significance Cain's sin represents the earthly beginning of all mortal, Babylonian sin …
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Clarke, Steve. "Huckleberry Finn’s Conscience: Reckoning with the Evasion." Journal of Ethics 24, no. 4 (September 12, 2020): 485–508. http://dx.doi.org/10.1007/s10892-020-09341-3.
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Abstract Huck Finn’s struggles with his conscience, as depicted in Mark Twain’s famous novel The Adventures of Huckleberry Finn (AHF) (1884), have been much discussed by philosophers; and various philosophical lessons have been extracted from Twain’s depiction of those struggles. Two of these philosophers stand out, in terms of influence: Jonathan Bennett and Nomy Arpaly. Here I argue that the lessons that Bennett and Arpaly draw are not supported by a careful reading of AHF. This becomes particularly apparent when we consider the final part of the book, commonly referred to, by literary scholars, as ‘the evasion’. During the evasion Huck behaves in ways that are extremely difficult to reconcile with the interpretations of AHF offered by Bennett and Arpaly. I extract a different philosophical lesson from AHF than either Bennett or Arpaly, which makes sense of the presence of the evasion in AHF. This lesson concerns the importance of conscious moral deliberation for moral guidance and for overcoming wrongful moral assumptions. I rely on an interpretation of AHF that is influential in literary scholarship. On it the evasion is understood as an allegory about US race relations during the 20-year period from the end of the US Civil War to the publication of AHF.
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Yang, Yu-Miao. "The Savage Within." International Journal of Applied Linguistics and English Literature 6, no. 6 (September 1, 2017): 53. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.6p.53.
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Heart of Darkness is often viewed as an allegory that relates the tragic demise of the colonists and the annihilation of the noble ideas they hold. In Heart of Darkness, the colonial theme is best examined through the fate of Kurtz, the protagonist of the novel who emerges from the surface of conventional European values as a man of varied talents and high culture. Equipped with moral ideas, Kurtz travelled to the Congo to campaign for noble ideals, yet having arrived in a primeval place, the uncivilised wilderness awakened his “brutal instincts” and “monstrous passion”. He submitted himself utterly to the temptation to “go native”, descending into a moral and physical state of degeneration. He is to become a savage man, consumed by the tangled and unforgiving jungle. The life and death of Kurtz in the wilderness helps to demonstrate that the treat of barbarism comes from indeed within civilisation itself. This paper thus seeks to examine the savage humanity by scrutinising Kurtz’s Mephistophelian transformation in the heart of darkness.
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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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Brockstieger, Sylvia. "Poetik des Krieges." Scientia Poetica 22, no. 1 (December 1, 2018): 270–85. http://dx.doi.org/10.1515/scipo-2018-013.
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Abstract The article explores how Johann Michael Moscherosch’s Gesichte Philanders von Sittewalt implement a modified concept of satirical writing in order to cope with the life-shattering experience that we have come to know as the Thirty Years’ War. Traditional satirical features like allegory or irony lose their significance when confronted with the imminence of violence and, as a consequence, certain moral dilemmas. With war being a key component of their poetics, the Gesichte establish a certain style of satire that takes (political) reality and its immediate presence into account. By lifting the veil that separates factual and fictional representations of the world, the Gesichte emerge with a concept of satire that is able to meet the demands of wartime.
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Wood, Diana. "… novo sensu sacram adulterare Scripturam: Clement VI and the Political use of the Bible." Studies in Church History. Subsidia 4 (1985): 237–49. http://dx.doi.org/10.1017/s0143045900003653.
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Medieval biblical commentators traditionally interpreted the Bible in terms of the ‘four senses’ of Scripture—the literal-historical and the three ‘spiritual’ senses, the allegorical, the tropological or moral, and the anagogical. Recently attention has been focused on the use of a variation of the allegorical sense, namely, political allegory. This was the application of a biblical text to a current political situation or argument. The Roman revolutionary Cola di Rienzo, after hearing Pope Clement VI preach in consistory, gave it another name altogether—sensum adulterum. Clement had apparently delivered the customary papal allegorization of the two-swords passage (Luke, xix. 38), according to which both swords, that of spiritual authority and of physical power, were in the hands of the priesthood.
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Hasan, Mariwan, and Diman Sharif. "William Golding’s Lord of the Flies: A Reconsideration." NOBEL: Journal of Literature and Language Teaching 11, no. 2 (September 29, 2020): 125–36. http://dx.doi.org/10.15642/nobel.2020.11.2.125-136.
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This paper reconsiders William Golding’s Lord of the Flies. Allegorical writings can illustrate ethical, social or psychological and moral issues using the manipulation of images that have stipulated meanings other than their meanings as imitations of the actual world. Allegory has been used widely throughout history in all forms of art, and comprehensible for the reader, conveys hidden meanings through symbolic figures. Lord of the Flies had been written in relation to historical circumstances of the twentieth-century and to the personal experience of William Golding. Also, it has provided a critical analysis of the novel that treated the prominent perspective and elements in it. The novel is a parallel of life in the late twentieth century, while it looks like society a stage of enhancement in technology whereas, human morality is not completely mature yet. “Lord of the Flies is an allegorical microcosm of the world. The destruction of World War II because of the dictators who initiated this war has a profound impact on William Golding himself”. In the beginning, the paper gives an introduction to Golding’s point of view on humanity with the title of how to draw attention to me through allegory and fable, two forms of imaginative literature that encouraged the reader and listener to look for hidden meanings. Then it deals with William Golding’s Lord of the Flies from the cultural approaches of that time, who is one of the most prominent literary men of postmodernism that was famous for utilizing symbolism within the novel; “he used different kinds of symbols, characters, objects, animals, colors and setting to convey his message about his main theme”, in the last section we analyzed the postmodern features in Lord of the Flies and how they are used to depict Golding’s view. The way Golding uses allegory strengthens the symbolism of his novel. Finally, it tackles the educational value through his experiences in teaching along with critical analysis of Golding’s technique.
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Williams, Abigail. "The Politics of Providence in Dryden's Fables Ancient and Modern." Translation and Literature 17, no. 1 (March 2008): 1–20. http://dx.doi.org/10.3366/e0968136108000034.
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The politics of Dryden's Fables Ancient and Modern (1700) are at once transparent and obscure. These poems speak the idiom of late seventeenth-century political debate, introducing into, or simply discovering in the fictions of Chaucer, Ovid, Homer, and Boccaccio, the language and concepts of patriotism, abdication, passive obedience, arbitrary power, and political flattery. They seem to invite political reading on account of their subject matter itself – their narratives of tyrants, wronged parents and children, dynastic disputes, and usurpation. Moreover, they have been shown to incorporate numerous topical reflections on contemporary political issues: there are clear allusions to the standing army debates in Sigismonda and Guiscardo and Cymon and Iphigenia; to contemporary controversy over moral reformation and satire on Puritanism in The Cock and the Fox. Yet although the seventeenth century, and the 1690s in particular, saw an outpouring of explicitly political fables, Dryden's translations frustrate the application of sustained political allegory, as numerous critics have found.1 They offer contradictory signals: so, for example, we are invited to identify the conquering Theseus at the beginning of Palamon and Arcite as a type of William III, but by the end of the translation he has become a stoic figure offering a humanist consolation on loss and love.2 The collection as a whole tends to deny us the consistent political allegory that it invites us to make through its vocabulary and topical allusion.3
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Pryshchenko, Svitlana, Yevgen Antonovych, and Andryi Petrushevskyi. "A visualization of the energy-saving problems." E3S Web of Conferences 250 (2021): 07005. http://dx.doi.org/10.1051/e3sconf/202125007005.
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This paper focuses on the visualization of eco problems and the latest green technologies, including energy-saving. Today, there are four color-graphic means in advertising: photography, graphics (drawing or computer graphics), font compositions, and often a combination of these. Our study considers the imagery and stylistics of eco poster as a type of public advertising, and ascertains that in the subject of energy-saving a light bulb as the visual stereotype prevails. The paper indicates the importance of system design thinking, the use of creative approaches in the educational process of designers (metaphor, metonymy, hyperbole, association, allegory also) in creating social appeals for a wide audience – from young children to the older generation. Moreover, it emphasized the social value of design, and the aesthetic, moral as well as communicative aspects of visual information of environmental orientation within the context of this study.
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James, Jason. "Retrieving a Redemptive Past: Protecting Heritage and Heimat in East German Cities." German Politics and Society 27, no. 3 (September 1, 2009): 1–27. http://dx.doi.org/10.3167/gps.2009.270301.
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In the years following unification, East German cityscapes have been subject to fierce contention because historic preservation and urban renewal have served as a local allegory of national redemption. Using conflicts over preservation and renewal in the city of Eisenach as a case study, I argue that historic cityscapes have served as the focus of many East Germans' efforts to grapple with the problem of Germanness because they address the past as a material cultural legacy to be retrieved and protected, rather than as a past to be worked through. In Eisenach's conflicts, heritage and Heimat serve as talismans of redemption not just because they symbolize an unspoiled German past, but also because they represent structures of difference that evoke a victimized Germanness—they are above all precious, vulnerable possessions threatened with disruption, pollution, or destruction by agents placed outside the moral boundaries of the hometown by its bourgeois custodians.
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Gunn, Jenny. "Deleuze, Žižek, Spring Breakers and the Question of Ethics in Late Capitalism." Film-Philosophy 22, no. 1 (February 2018): 95–113. http://dx.doi.org/10.3366/film.2018.0064.
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This article examines Harmony Korine's 2012 film, Spring Breakers. Arguing that Korine's film explores the bankruptcy of ethics in advanced capitalism, the article considers two predominate and contrasting theories of contemporary subjectivity: Slavoj Žižek's psychoanalytically-inspired conception of the subject as radical lack and Deleuze's affirmation of the subject through attention to affect and the virtual. In reference to Kant's radical reformulation of the moral law as an empty and tautological form with the concept of the categorical imperative, this article shows that Korine's allegory of the spring break adventure correlates the subject's eagerness to surmount any and all obstacles toward enjoyment to late stage capitalism's increasing encroachment on the absolute limit of deterritorialization. In so doing, the film suggests that neither Deleuze nor Žižek, affirmation nor lack, offer an effective ethical principle for the subject in the face of the real of global capital.
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Rozhdestvenskaya, Elena Yu. "The trail of folly and madness in the picture of Bosch: visual analysis." Inter 11, no. 20 (2019): 164–75. http://dx.doi.org/10.19181/inter.2019.20.8.
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In the essay, it carried out the visual analysis of the famous painting by I. Bosch, “Cure of Folly (Stone Operation),” which deals with the allegory of surgical cure for mental disorders. The literal embodiment of the metaphor and paths of insanity of both the patient and the quack doctor are included in the wide tradition of the early renaissance. The author follows the method of sequential analysis of visual images from a dense description of the visual series to the reconstruction of the meanings of the symbolic order and socio-cultural interpretation. The image of genre scene with the doctor, the patient and observers is structured through a rounded tondo method and combined with a textual frame in the style of the Gothic fracture, which refers to the client’s personal heraldic coat of arms. The bricolage of allegorical words and images complements each other and creates an intertextual space of meaning, to which semantic incongruity becomes a vehicle — flowers instead of expected stones. The hermeneutic tradition that has developed around the work of I. Bosch contradictory interpret this scene — from lithotomy by medical historians to a flower as an image of voluptuousness or a flower of wisdom (as a visual allegory of a philosopher's stone, elixir). But, the interpretation of the flower as a heraldic lily becomes more appropriate, taking into account the addressee of the picture, the reputation of customers and the rhyme of the formal characteristics of the picture with the style of the coat of arms of the customer. Bosch's painting with its hidden moral message is addressed to influential customers, metaphorically combining the meanings of folly stones and symbols of power.
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Matei, Alexandru. "Michel Seress’ Integumentum, or Why Ecology Lies (Also) Beyond Arguments." Metacritic Journal for Comparative Studies and Theory 7, no. 1 (July 8, 2021): 58–82. http://dx.doi.org/10.24193/mjcst.2021.11.04.
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During the Middle Ages, integumentum was a term widely used by “intellectuals” (Le Goff) in order to unfold the function of allegory: there is no story whose signification does not echo the sacred texts, and every sacred truth needs a story to bring it to life. Integumentum was a way to make this echo explicit: a sort of “poetical coat hiding a moral or philosophical truth” (John of Garland). We want to suggest that, while no one uses integumentum anymore in order to designate the rhetoric of modern and contemporary theoretical discourse, it is in ecological theory that we may rediscover its afterlives. Hence, integumentum is not only a form of telling truths, but a form of memory, as well. In this respect, Michel Serres may be considered the first “ecological” thinker, as he avoids abstract metalanguages as much as possible, relying instead on fictions and characters in his attempt to describe the world afresh. If integumentum resurfaces as the proper way of “ecologizing,” instead of modernizing (Latour), we would like to uncover, in Michel Serres’ works, the dialectic of subjects and objects.
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Fedotova, Svitlana. "THE METHOD OF USING «V. Y. PROPP’S CUBES» AS A MEANS FOR UNDERSTANDING THE CONTENT OF A FAIRY TALE BY PRESCHOOL AND PRIMARY SCHOOL CHILDREN." Academic Notes Series Pedagogical Science 1, no. 192 (March 2021): 138–43. http://dx.doi.org/10.36550/2415-7988-2021-1-192-138-143.
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A fairy tale is the genre which is well represented in preschool education programmes as well as in the curriculum of general primary education. A fairy tale is an important means for developing children's verbal creativity and their logical thinking. A fairy tale stimulates children's imagination, prepares them for the future life in the real world, broadens their horizons, fosters not only moral and ethical values but also the right attitude to the world. Folk tales were not initially created for children. Adults displayed their own mythological ideas about the world, nature and a man by means of these encoded texts. Over time a fairy tale lost its meaning in the life of adults and was transferred to children becoming part of their everyday reading. A child admires a fairy tale, its fantasy, but does not understand everything. «The Cubes of V. Y. Propp» represent the means and the techniques that help the child to understand the structure of a tale, its content, morality and allegory. Y.Propp proved that a fairy tale is illustrative of the fact that there was a system of various taboos in the life of our ancestors. All these prohibitions gradually formed moral and ethical principles, legal rules and laws of human behavior in society. In the structure of a fairy tale, V. Y. Propp names several main elements, the so-called «The Cubes of V. Y. Propp», namely «absentation», «interdiction», «violation of the interdiction», «departure», «first function of the donor», «hero’s reaction», «receipt of a magical agent», «victory», «return», «happy ending». This structure of a fairy tale serves its magical or ritual function, which makes a fairy tale resemble such an archaic genre as an incantation. In a fairy tale like in an incantation, a magical ritual action and a magical verbal formula are intrinsically linked, and therefore in a fairy tale a taboo as well as a potential punishment are often depicted. Y.Propp's schemes clearly show the typical structure, «models of fairy tales», according to which their «building material» can be defined: fairy tales have sets of «cubes», i.e. typical plot elements, situations, taboos and symbolic actions. And this is also the basis for the differentiation of the works of this folklore genre: some fairy texts have the whole set of «cubes», but there is also such a type of fairy tales in which some of the «cubes» are missing with a particular purpose. The article offers an analysis of fairy tales based on the structure of «V. Y. Propp's cubes». Such an analysis of fairy tales will help preschool and primary school students to understand the content of fairy tales, their morality and allegory. Creative tasks with «V. Y. Propp's cubes» will provide children with the clues to independent creativity, which may result in composing their own fairy tales.
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Miola, Robert S. "Ben Jonson's Reception of Lucian." Ben Jonson Journal 26, no. 2 (November 2019): 159–79. http://dx.doi.org/10.3366/bjj.2019.0253.
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Throughout his career Ben Jonson drew variously upon Lucian, whom he encountered in the mythographies as well as in several Greek and Latin editions he owned. Jonson's receptions take the form of glancing reminiscence in the masques, as Lucian supplies mythological decoration and literary conceit. They appear as transformative allusion in Cynthia's Revels, which draws upon several satirical Dialogues of the Gods, and in The Staple of News, which re-appropriates a favorite satirical dialogue, Timon, the Misanthrope, to satirize the greed of the news industry. Jonson practices an extended and creative imitatio of Lucian's fantastic moon voyages (A True Story and Icaromenippus) in his much neglected News from the New World Discovered in the Moon. And, likewise, Jonson reworks Lucian extensively for the action of Poetaster: The Carousal supplies the lascivious banquet of 4.5, and Lexiphanes, the humiliating purge of Crispinus. Jonson's rich engagement with Lucian comes to a climax in Volpone, which borrows directly from The Dream, and several Dialogues of the Dead. Here whimsical ancient satire enables stern moral allegory. Responding to Poetaster in Satiro-mastix, Thomas Dekker has Captain Tucca rebuke Horace (i.e. Ben Jonson) by sarcastically calling him “Lucian.” Jonson, no doubt, took the proffered insult as the highest compliment.
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Кorolova, Nataliia, and Bohdana Korobova. "LEXICAL AND GRAMMATICAL FEATURES OF THE INTERPRETATION OF AESOP’S FABLES IN CREATIVY UKRAINIAN WRITERS AND TRANSLATORS (ON THE MATERIAL OF TRANSLATIONS BY YURII MUSHAK)." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 29 (2021): 14–17. http://dx.doi.org/10.17721/1728-2659.2021.29.3.
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Ancient fable is one of the most notable phenomena of European literature. Many monuments of this genre are distinguished by high artistic skill and have not lost their aesthetic value to these days. Short stories with a moral component, the protagonists of which were the representatives of animate or inanimate nature, were known in ancient times. Aesop is considered the founder of fable’s genre, according to the legend he first made them in literary processing. The most commonly among the works of the ancient Greek fabulist there are the themes of hypocrisy and human recklessness, lies and greed, fame and its consequences. The traditional structure of fables usually has two components – a morality and a narrative, and its main elements are an instructive, figurative, concise presentation, the introduction to the plot of various species of animals, plants, natural phenomena, gods, etc., which endowed with traditional allegorical image. The events described in the fables have an instructive content, in which the negative social phenomena and the human traits are ridiculed with help of allegory. Each fable of the legendary master is a separate episode, not related to the rest of the fables. The article defines the concept of a fable, provides a theoretical justification for choosing the object of study, takes into account a state of the linguistic researches of a chosen topic, outlines the artistic features of the genre, determines a compositional, stylistic and speech structure of Aesop’s fables and their translations into Ukrainian. Yuri Mushak’s translations are distinguished by the desire to preserve the artistic features of Aesop’s fables with a detailed transfer of their individual linguistic and stylistic elements. At the same time, the translator manages to bring his translations closer to the living conditions and morals of the Ukrainian people, he widely uses abbreviations or, conversely, additions to the text, replacement, concretization, and so on.
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Katz, Steven T. "Mysticism and Ethics in Western Mystical Traditions." Religious Studies 28, no. 3 (September 1992): 407–23. http://dx.doi.org/10.1017/s0034412500021752.
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Having considered the role of ethics in Indian mystical teachings in a previous, related, essay I would like to consider the same question in its western religious contexts in the present paper, beginning with the Christian mystical tradition. As is the case with Asian traditions charges of moral unconcern are widely directed at Christian mystics, but they are false. Christian mystics are not indifferent to morality nor do they disconnect morality from an intrinsic relationship to their mystical quest. Augustine would already teach that the story of Leah and Rachel was an instructive allegory in which the active life represented by Leah was intrinsic to the contemplative life represented by Rachel while Gregory the Great would unambiguously assert: ‘We ascend to the heights of contemplation by the steps of the active life’, defining the active life as: ‘to dispense to all what they need and to provide those entrusted to us with the means of subsistence’. These representative early samples of the salience of ethical behaviour to the life of contemplation could be multiplied at great length, and almost without exception in the teaching of the major Christian mystics. This historical exegetical exercise, however, is in the present circumstances, both out of place and I hope unnecessary. Instead, the more general, more enigmatic, more repercussive, issues raised by the place and significance of morality within the Christian mystical tradition need attending to.
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Montiel López, Andrea. "Pia Desideria: Entre el aguardiente y la vida ascética. Las calaveras borrachas claman por el chinguirito (México, 1836)." IMAGO. Revista de Emblemática y Cultura Visual, no. 11 (January 28, 2020): 135. http://dx.doi.org/10.7203/imago.11.15053.
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ABSTRACT: The allegory of the body as a prison of the soul was visually depicted as a skeleton that imprisons a figure with childish features. One of the earliest examples of this image is the emblem «Infelix ego homo!» included in Herman Hugo’s Pia Desideria (1624); however the pictura was incorporated in other media and contexts allowing its survival even to the end of the 19th century. In Mexico, it evolved from an ascetic-moralistic book to a popular pamphlet of ghostly apparitions revealed in dreams. How did this emblem –based on Neoplatonic philosophy– evolve from a book written in Latin to a popular nineteenth century pamphlet? Did it conserve part of its original meaning?
KEYWORDS
Death; Soul; Hard Liquor; Mexico.
RESUMEN: La alegoría del cuerpo como cárcel del alma se representó visualmente como un esqueleto que aprisiona a una figura de rasgos infantiles. Uno de los ejemplos más tempranos de esta imagen lo encontramos en el libro de emblemas de Herman Hugo, el afamado Pia Desideria (1624), sin embargo, la pictura se trasladó a otros soportes y contextos lo que le permitió continuar vigente hasta finales del siglo XIX. En el caso mexicano pasó de una publicación de corte ascético-moral a una popular en la cual apariciones fantasmales se manifiestan a través de revelaciones oníricas. ¿Cómo fue que este emblema –con visos neoplatónicos– pasó de un libro en latín a una hoja popular decimonónica? ¿Conservó algo de su significado original?
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Xavier T., Roy, and Dr A. J. Manju. "The Blackness in The Bluest Eye." SMART MOVES JOURNAL IJELLH 8, no. 4 (April 28, 2020): 136. http://dx.doi.org/10.24113/ijellh.v8i4.10530.
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Novels, of any time, carry certain stories related to reality. The earlier forms of the Novel, Allegory and Romance, contained religious, philosophical facts. These literary genres took the shape of Novels, which continue to carry moral, philosophical and historical truths. George Meredith, a Victorian novelist, defined Novel as the ‘summary of actual life’. According to William Henry Hudson, an English writer, Novel is an effective medium of the portrayal of human thoughts and actions.
The English word, Novel derived from the Italian term, Novelle, which means ‘a fresh story’. It was in 1350 that the Italian writer, Giovanny Boccassio, wrote his world famous collection of love stories in prose, named Decameron. Such stories in prose were called ‘novelle’ and a story in verse was known as ‘romance’. It meant a story of the legendary past. Malory’s Morte d’Arthur is an example. Some experts gave various definitions for a ‘Novel’. According to an American novelist, F. Marion Crawford, a Novel is a pocket theatre; a novel contained all accessories of a drama without requiring to be staged before an audience. George Meredith, an English novelist, called it a ‘summary of actual life’ including both ‘the within and the without’. According to W.H Hudson, Novel is an effective medium of the portrayal of human thought and action, ‘combining in itself the creations of poetry, the details of history and generalised experience of philosophy’.
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Porges Watson, Elizabeth. "The Faerie Queene." Reinardus / Yearbook of the International Reynard Society 11 (November 15, 1998): 161–74. http://dx.doi.org/10.1075/rein.11.12por.
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Abstract A high proportion of the animal imagery in The Faerie Queene serves a function that is effectively heraldic. The actual blazons of knights are seldom given: occasionally they provide a fixed point of reference that still allows for more fluent delineation of character and motivation, where animal imagery plays a vital part. Spenser may have been influenced by Sidney's Arcadia, where characters choose their heraldic devices for tournament or battle so as visibly to express their present states of mind. Sidney is elaborating from real life. Spenser's use of allegory allows him to invert this technique so as to offer and control subjective insight. This he does in three main ways, all of which have immediate and overall structural effect. His characters may ride, encounter or appear with specific beasts that express or project qualities of mind or character, as the Lion ridden by Cupid (FQ III xii 22), the beasts subdued by the young Satyrane, (F I vi) Mercilla's Lion (FQ V 33). They may have names reflected in their actions: Sanglier (FQ V i), Bruin (FQ VI iv). Simile may be specific to an occasion, as Marinell falling before Britomart's spear 'like sacred Ox' (FQ III iv 17) or cumulative over an episode, as in Arthur's fight with Maleger (FQ II xi). In particular, the reader's responses are educated by associative repetition so as to give an unexpected image special force, shifting or clarifying moral perspective.
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Senkāne, Olga. "POETRY BY RAINIS IN LATGALIAN." Via Latgalica, no. 4 (December 31, 2012): 81. http://dx.doi.org/10.17770/latg2012.4.1690.
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<p>Research „Poetry by Rainis in Latgalian” tried to establish impulse and reasons for publishing poetry by Rainis in Latgalian (original texts and renderings) using biographical method, but semiotic methods helped to analyze poetic means in poems written in Latgalian, revealing meaning of concept „Munu jaunu dīnu zeme” (Land of My Youth) in poem by Rainis and Latgalian culture.</p><p>Poems by the most significant Latvian literature classic Rainis (1865–1929) in Latgalian can be divided into original texts („Sveicins latgališim”/Greetings to Latgalians), original texts with renderings into Latvian („Munu jaunu dīnu zeme”/Land of My Youth) and renderings from Latvian (at least 16 poems from selections: „Tālas noskaņas zilā vakarā”/Far off Echoes on a Blue Evening, 1903;„Tie, kas neaizmirst”/Those Who Don’t Forget, 1911; „Gals un sākums”/The End and the Beginning, 1912), besides, surely we can say author’s renderings are only „Munu jaunu dīnu zeme” (Land of My Youth) has well as all other texts from literally scientific and social magazine „Reits” (Morning), because Rainis had been one of the editors of this magazine. Poems by Rainis published in Latgalian in newspapers – „Drywa” (Cornfield), „Gaisma” (Light), „Latgolas Wòrds”(Latgalian Word), „Jaunò straume” (New Flow) – are possibly work of authors of these periodicals, considering significant differences in stylistics with magazine „Reits” (Morning) and earlier published poems by Rainis.</p><p>Publishing of original texts and especially renderings in Latgalian press are mainly related to political activities of Rainis. But writing in Latgalian for Rainis also meant remembering his roots, remind of cultural wealth of native land and value; being a mediator in strengthening people’s unity and widening own supporters as well as the number of readers.</p><p>In the discourse of Rainis personality and creative work „Munu jaunu dīnu zeme” (Land of My Youth) is 1) homeland, native nature and home of poet’s childhood and colorful impressions of his youth (Rainis father’s rented manor house (semi-manor house) in Zemgale and Latgale); 2) Rainis’ land of youth is writer’s „second homeland” – Latgale, its’ nature, people and language; 3) particular semi- manor house in Latgale – Jasmuiža.</p><p>Origination of lyrical Me is emphasized in epos „Saules gadi” (Solar years) – Latgalian was born. From Rainis point of view Latgale is multinational keeper of authentic cultural values. About eight languages had been spoken in Rainis family. In Latgale, customs, folk-songs have been maintained untouched owing to certain isolation, historical and administrative separation from other parts – some kind of reserve effect. During years of his studies Rainis had intended to write a book about civilization untouched Latgale, but this intention left unimplemented.</p><p>Memories about homeland motivated Rainis to write and render into Latgalian, but original texts in Latgalian – „Munu jaunu dīnu zeme” (Land of My Youth) and „Sveicins latgališam” (Greetings to Latgalian) – were written on behalf of stylistic searches in particular period of Rainis creative work; they chronologically incorporate with philosophical stage (according to Janīna Kursīte). In this time poet’s ontology forms, still balancing between allegory (transmission transparency, dichotomy) and symbol (polysemy and ambivalence) structures.</p><p>In Rainis’ neo-romantic (1895–1904) and allegoric stage (1905–1909) poetry nature cycles project mainly society, not individual; only humanity will exist and revive eternally, precondition of immortality – death and birth of individual people.</p><p>In the poetry of philosophical stage (starting from 1910) Rainis frequently lingered on individual’s immortality reflection, which he called search and recoveries. A person lives not only according to nature laws, but according to existence laws and dies according to these same laws. Symbol, most frequently mythologeme, becomes a sign of existence glimpse for Rainis; lyrical Me of Rainis is awaiting new experience, knowledge, and moral enlightenment. One has to search in order to find, and searching/cognition signal in his poems is a cycle of time and space (nature, society, human) and three- dimensional structure (outer world/history, individual/soul, philosophy/ being). In the poem „Munu jaunu dīnu zeme” (Land of My Youth) it is possible to follow 3 of the mentioned cycles development in peculiar symmetry: 1st , 6th stanzas are a framework of individual’s inner cycle – dream/illusion/ desideratum and interchange of wakefulness/ reality/ actuality; 2nd and 4th stanzas contain nature cycle allegory – nature in spring awakes from winter sleep; while 3rd and 5th stanzas are related to social processes, which are covered with day-and-night cycle. Basics of symmetry – state of sleep and awakening in all levels of previously mentioned time and space, creating triple parallelism.</p><p>It is interesting how stanzas within a single cycle (1 and 6, 2 and 4, as well as 3 and 5) mutually relate: 1st , 2nd and 3rd stanzas contain reminiscences as symbolic sleep/dream abstractions of Rainis previously written poetry, while 4th , 5th and 6th stanzas specify something in nature, society and individual’s desires, dreams which have to wake up. Reminiscence carries out necessary associations for philosophical perceiving of functions time and space cycle, but especially – form and maintain transmission basics: historical (people’s destinies) – 3rd stanza, psychological (individual’s dreams, desires) – 1st stanza, philosophical (order of existence) – 2nd stanza.</p><p>The above mentioned allows stating that poem created by Rainis in Latgalian „Munu jaunu dīnu zeme” (Land of My Youth) indeed incorporates into Rainis creative work philosophic stage, where allegory as a supplementary tool and symbol as a dominant harmonically gets along with poet’s revelation of ontological sense.</p><p>Poem „Sveicins latgališim” (Greetings to Latgalians) has one addressee – a Latgalian, new reader of the newspaper. The text is artistically created on the allegoric stage standards of Rainis creative work – here features of one cycle (human in society) are present. Social cycle stages revealed in the poem are parting/uniting, hatred/love, old life/new life, celebrations/work.</p><p>Artistic structure of poems in Latgalian indicates on dominance of allegory or symbol in time and space. Cycle has a special meaning in reflection of existence order.</p>
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Levchenko, Nataliia, Olena Liamprekht, Oksana Zosimova, Olena Varenikoba, and Svitlana Boiko. "Emblematic Literature as a Form of Biblical Hermeneutics." Revista Amazonia Investiga 9, no. 32 (September 8, 2020): 61–69. http://dx.doi.org/10.34069/ai/2020.32.08.7.
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The article defines the basic principles of the influence of biblical hermeneutics on the poetics of Ukrainian Baroque emblematic literature, which were determined by its general development trends. The four-sense biblical hermeneutics, founded by the Greek and Roman Church Fathers, played an important role in the formation of Ukrainian Baroque literature that mainly developed within the theological framework. The principles of biblical hermeneutics eventually began to go beyond the theological literature. Thus, the medieval interest in symbol and allegory led to the appearance of “empresas” – symbolic drawings that became fashionable at the royal courts of Europe in the 15th century. The Renaissance misunderstanding about the nature of Egyptian hieroglyphs, their perception as ideographic writing through which Egyptian priests expressed their wisdom, led to the appearance of emblems, allegorical prints with long explanatory verses, aimed at giving some moral lessons. It was believed that the emblem could communicate truth to the mind more directly than with the help of words. It was reflected in the mind, while the person’s gaze wandered through the symbolic details of the emblem. The research provides evidence that a large number of literary works of the 17th century showed the influence of the emblem on the formation of symbolic representation, arranged to reveal the truth implicitly or explicitly through the sequential placement of the elements. Many poetic images of the 17th century come from well-known emblems, which were means of perceiving, interpreting, and opening the world of the Bible to the Baroque reader.
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Snowdon, Peter. "The Revolution Will be Uploaded: Vernacular Video and the Arab Spring." Culture Unbound 6, no. 2 (April 17, 2014): 401–29. http://dx.doi.org/10.3384/cu.2000.1525.146401.
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The vernacular online videos produced by the Arab revolutions constitute an un-precedented (though not unproblematic) historical resource for understanding the subjective experience of the ordinary people who find themselves on the front line of revolutionary struggle. But they also effect a sea-change in the way in which we view and understand YouTube itself. This article argues that the political significance of these videos lies less in their explicit content, than in their aesthetics - that is, in the new formal and sensory propositions that they constitute, the ways in which they “redistribute the sensible” (Rancière).
The prologue proposes, following Judith Butler, that “the people” who are the subject of history are essentially a performative event, rather than a pre-existing entity, and that to write about revolution therefore requires a performative and allegorical approach. The first section reviews the current academic notion of “vernacular video” in the light of Ivan Illich’s work of the early 1980s on vernacular language and values, and argues that a stronger, more political conception of the vernacular is necessary to do justice to these works. The second section offers a close reading of one particular video from the Libyan uprising, and argues that it offers less an example, than an allegory of the dialogical relationship between the individual and the collective that defines the moral economy of the vernacular. The article concludes by proposing that the right response to such videos is not (just) more theory or criticism, but rather to seek to emulate their radically egalitarian forms of practice.
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van Veldhuizen, Michiel. "BACK ON CIRCE'S ISLAND." Ramus 49, no. 1-2 (December 2020): 213–35. http://dx.doi.org/10.1017/rmu.2020.12.
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The reception of Circe's island in and through Classical Antiquity has largely focused on the enigmatic sorceress herself. The long literary chain of interpretive topoi—Circe the witch, the whore, the temptress—stretches from Apollonius, Virgil, Ovid, and Dio Chrysostom to Spenser, Calderón, Joyce, Margaret Atwood, and Madeline Miller. Her role as Odysseus’ benefactor, so unmistakable in Homer, is soon forgotten; to Virgil, she is above all dea saeva, (‘the savage goddess’, Aen. 7.19). One distinguishing feature of Circe and her reception is the focus on representation: the enchantment of Circe, as Greta Hawes puts it, is above all a study in allegory. From the moment Circe put a spell on Odysseus’ companions, transforming them into animals in Book 10 of the Odyssey, Circe has invited analogical reasoning, centered on what the transformation from one being into another represents. More often than not, this transformation is interpreted according to a dualist thinking about humans and animals: subjects are transformed from one being into another being, thus representing some moral or physical degradation. This article, by contrast, concentrates on Circe's island through the lens of becoming-animal, the concept developed by Gilles Deleuze and Félix Guattari in the tenth plateau of A Thousand Plateaus, ‘1730: Becoming-Intense, Becoming-Animal, Becoming-Imperceptible…’. I explicate the concept of becoming-animal by applying it to a Deleuzian encounter with Circe's island, both in its ancient articulations and in its various receptions, including H.G. Wells's science fiction novel The Island of Dr. Moreau.
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Menshikova, Elena. "THE DOUBLE AXE OF MYTH (DIPHTHONG OF SONG)1: THE FORGOTTEN FLUTE OF GREEK EPIGRAM / JUSTIFICATION OF VILENESS, OR TOTAL TRANSFORMATION 'ACCORDING TO FAHRENHEIT' (CYNIC PARADOX)." Scientific and analytical journal Burganov House. The space of culture 16, no. 3 (September 10, 2020): 21–46. http://dx.doi.org/10.36340/2071-6818-2020-16-3-21-46.
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While philosophers and poets quickly see their present, their “perception”, left to contemporaries and descendants, slowly and not immediately begins to be perceived, and until they begin to “unpack” and it will be perceived (and probably not in the way the author expected), and when begin to hear in the voice of Cassandra who speaks again, it will be years, if not centuries, - and therefore it is important to understand that philosophers and poets always quickly see their present, in the hope of understanding the past, without which it is simply impossible to awaken either one's own Consciousness or a society that is always in hibernation, which, barely waking up, grasp at the flail, and the future does not bother them at all, because it exists only in the imagination, and which escapes as one approaches it.2 But many people are inclined to relate the “insight” to the future as a “process of an imaginary perspective”, and only on the basis that it would be easier to relate its “allegory”, that slipped like a fantastic drop, to anything, but not to the time in which it was conceived, it was written and realized as a literary work. It’s like an invisible Creator from the noosphere spreads Perception and Allegory in different angles of the ring, so that the first will, like, put on weight, and the second will work on its technique, so that swing as a “resonant introduction” would occur as late as possible, but would be clear and accurate, and all-embracing, carrying such a powerful sound wave as the silkworms, mincing along the Great Wall of China, turned into the mulberry butterfly as fast as 'insight could pierce', as quickly as someone else’s perception arouses your “intuition” in you, which was dozing and delaying the exit, forcing you to search for new words, metaphors and expressions, sorting out overflowing wardrobe, and not finding ‘clothes’ of the necessary palette. And since the process of 'comprehending with an elusive allegory' is included in the act of goodwill of one's own Consciousness, then one beautiful or gloomy morning it will surprise itself, that is, it will open its eyes and “will be on shore in mail a-gleaming bright”, being a consequence of the paradox of the mind, which we call the singularity of Consciousness that splashes in the temporal-spatial continuum of the culture that surrounds us and forms us. But we are talking with the ‘time’ in which we live and while we live - there will be no other possibility. And so our “dialogues with time” turn out to be “elusive perception” for posterity. And the Greek epigram, peering by the dragonfly facets, throws to you just such an “elusive perception”, the author of which, by inventing this very pop-eyed metaphor, prompting the Image of the Concept, forced people reading rhythmic lines to give a start by mind - and gain or remember moral principles, filling with sane sense or fun paradox that are positive, its existence, suddenly beaming with awareness, building itself a crib of perceptions for all occasions from the contradictions revealed by the verse. The Greek epigram could act therapeutically, like the wise Asclepius, if her allegory was caught. Myths are rewritten, ethos are corrected due to the socio-political instability of life, a person is reformatted from time to time, and the humanities continue to uphold sanitary standards and the inviolability of their fundamental boundaries. Discoveries in geology, biology, astrophysics, only the last fifty years, reveal, confirming Heraclitus’s catch phrase about the unstable variability of the world, its inconstancy and fluidity, but philosophers have ceased to question the truths that have been established to the extent of stone idols from Easter Island. Refusing to a new look at the primary sources, scanning the meaning to a quantum - and not leafing through it like a gadget, hearing and listening to the sound of the parallels that arise, we include Fahrenheit 45119, which threatens the heat of the Arctic cold - not just oblivion of cultural memory, but the inability to understand the mistakes of its predecessors and the courage to correct them. Such an “absolute zero” can hardly testify to the flourishing of the culture of modern civilization, which was not comforted by philosophy, because the virus of self strongly supplants all doubts and reflections, being content with a short course of hastily compiled textbooks and clichés of abstract dotted lines.
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Chatterjee, Arnab. "William Golding’s Apocalyptic Vision in Lord of the Flies and Pincher Martin." Prague Journal of English Studies 6, no. 1 (July 26, 2017): 45–56. http://dx.doi.org/10.1515/pjes-2017-0003.
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Abstract Humanity has long been haunted by the notions of Armageddon and the coming of a Golden Age. While the English Romantic poets like Shelley saw hopes of a new millennium in poems like “Queen Mab” and “The Revolt of Islam”, others like Blake developed their own unique “cosmology” in their longer poems that were nevertheless coloured with their vision of redemption and damnation. Even Hollywood movies, like The Book of Eli (2010), rehearse this theme of salvation in the face of imminent annihilation time and again. Keeping with such trends, this paper would like to trace this line of apocalyptic vision and subsequent hopes of renewal with reference to William Golding’s debut novel Lord of the Flies (1954) and his Pincher Martin (1956). While in the former, a group of young school boys indulge in violence, firstly for survival, and then for its own sake, in the latter, a lonely, shipwrecked survivor of a torpedoed destroyer clings to his own hard, rock-like ego that subsequently is a hurdle for his salvation and redemption, as he is motivated by a lust for life that makes him exist in a different moral and physical dimension. In Lord of the Flies, the entire action takes place with nuclear warfare presumably as its backdrop, while Pincher Martin has long been interpreted as an allegory of the Cold War and the resultant fear of annihilation from nuclear fallout (this applies to Golding’s debut novel as well). Thus, this paper would argue how Golding weaves his own vision of social, spiritual, and metaphysical dissolution, and hopes for redemption, if any, through these two novels.
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Preisig, Florian. "« Marot y fut » : Le Discours de la court de Claude Chappuys." Renaissance and Reformation 36, no. 3 (December 2, 2013): 33–59. http://dx.doi.org/10.33137/rr.v36i3.20546.
Full textAbstract:
In 1543 Claude Chappuys published Le Discours de la court, a long poem in praise of the court of Francis I. This text, a hybrid of moral allegory and enumerative discourse, recalls themes, structures, and poetic language that can be found in Guillaume de Lorris, Jean Lemaire de Belges, and above all, as I will argue, Marot, with whom Chappuys had collaborated earlier, for example in the context of the Blasons anatomiques du corps féminin. Yet at the same time, and more importantly, this article demonstrates that Chappuys’s poem, despite its non-controversial tone, can be read as an implicit rejection of key aspects of Marot’s heritage. Indeed, Chappuys condemns Marot’s polemical vein indirectly through the negative depiction of the Pasquin-L’Arétin duo, a clear figure of the satirical genre, and through veiled allusions to L’Enfer and the coq-à-l’âne poems. This presence of Marot in the intertext of an extremely consensual work written for Francis I is all the more significant when one remarks that the Discours was published just a few months after Marot’s flight to Geneva, in a renewed context of interconfessional tension; it constitutes, so to say, the poem’s flipside. Symptomatically, the only direct mention of Marot in the Discours is laconic, "Marot was here," and can be read in different ways. This article can be seen as a discussion of this short phrase and its resonances, with special attention given to its specific location in the carefully elaborated catalogue of the court that makes up the second half of the work. Generally speaking, the following offers an introduction to Chappuys’ poem and attempts to rehabilitate a work that has been neglected or read primarily in a political perspective.
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Kostrykina, N. V. "CREATIVITY OF THE KRASNOYARSK DOCUMENTARY FILMMAKER I. ZAITSEVA AS A PHENOMENON OF REGIONAL AND NATIONAL CULTURE." Northern Archives and Expeditions 5, no. 2 (June 30, 2021): 103–12. http://dx.doi.org/10.31806/2542-1158-2021-5-2-103-112.
Full textAbstract:
The article describes the work of Irina Borisovna Zaitseva, a world-famous Krasnoyarsk documentary film director, a member of the Board of the Union of Cinematographers and the Association of Documentary Films of the Russian Federation, whose film productions have not yet been the subject of film studies. Her films have won numerous prizes at prestigious All-Russian and international film festivals ("Russia", "Golden Knight", "Living Water", "Flahertiana", "Stalker", "Saratov Suffering", "Mediawave", "Documenta Madrid", "Docupolis", etc.). A number of documentary films reflect the history of not only the Krasnoyarsk Territory, but also Russia. Some films have a parable discourse and carry a moral and philosophical context. The director repeatedly addresses the topic of "fathers and children". I. Zaitseva makes high demands on the profession of a film director, relying in her work on the director's code of honor, so as not to harm the heroes of her documentaries. As a result of the analysis of the film "Martyrs and Confessors" and a brief review of other films directed by I. Zaitseva, a wide range of artistic techniques was identified: subjective video camera, vertical and parallel editing, historical reconstruction, "story within a story", changing focalizations and temporality, allegory, and others. All the author's means of the film language work for a strong drama, which distinguishes the films of the documentarian. In her work, there is a hybrid-a combination of factuality and artistry, which does not mean devaluing the principle of documentality. The Krasnoyarsk documentary filmmaker was one of the first in Russia to make a film about the tragic fate of the clergy who died at the hands of representatives of the Soviet government in the period 1918–1938. I. Zaitseva's filmography is a phenomenon of regional and national culture.