Artigos de revistas: "English Allegories"

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DOY, GEN. "THE MAKING OF ENGLISH PHOTOGRAPHY: ALLEGORIES BY STEVE EDWARDS". Art Book 14, n.º 3 (agosto de 2007): 58. http://dx.doi.org/10.1111/j.1467-8357.2007.00850_1.x.

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Lukitsh, Joanne. "The Making of English Photography: Allegories, by Steve Edwards". Victorian Studies 49, n.º 4 (julho de 2007): 718–19. http://dx.doi.org/10.2979/vic.2007.49.4.718.

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Irvine, Martin, e John P. Hermann. "Allegories of War: Language and Violence in Old English Poetry". South Atlantic Review 56, n.º 2 (maio de 1991): 127. http://dx.doi.org/10.2307/3199964.

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Bernard, Catherine. "A Certain Hermeneutic Slant: Sublime Allegories in Contemporary English Fiction". Contemporary Literature 38, n.º 1 (1997): 164. http://dx.doi.org/10.2307/1208856.

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Pittock, M. G. H. "Review: Allegories of Union in Irish and English Writing, 1790-1870". Review of English Studies 53, n.º 210 (1 de maio de 2002): 276. http://dx.doi.org/10.1093/res/53.210.276.

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MATTHEWS, C. "A RELATION, OH BLISS! UNTO OTHERS". Nineteenth-Century Literature 58, n.º 4 (1 de março de 2004): 474–505. http://dx.doi.org/10.1525/ncl.2004.58.4.474.

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Studying Arthur Hugh Clough's 1848 poem The Bothie of Toper-Na-Fuosich and its approach to metrical and sexual forms, in this essay I examine the ways in which heterosexuality operates as an experiment in form intimately connected with the poem's experiment in English hexameter. Both Clough's hero, Philip Hewson, and his meter strike poses of passion and disruption, but both ultimately seek out and create architectural forms that "order" and orchestrate their "liberties." In the Þrst section I present a reading of The Bothie's heterosexual and political narrative, describing the trajectory of the poem's hero through an interconnected series of lovers and philosophical arguments. In the second section I address the synergy between the poem's sexual and metrical allegories, drawing connections between the poem's methods of thematizing both metrical turbulence and heterosexual passion. Finally, I explore how The Bothie brings these two allegories together, demonstrating that Clough's meter enacts an "ordered liberty" and a structure of "relation unto others" that is integral to the poem's ultimate image of passionate but socially responsible union: the new bridge dreamed of by Philip's Þnal lover.

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Chance, Jane. "Rhetoricalinventio and Ricardian allegories in late middle English literature: A new historical approach to fiction". International Journal of the Classical Tradition 8, n.º 1 (setembro de 2001): 79–91. http://dx.doi.org/10.1007/bf02700230.

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Renu e Dr. R K. Sharma. "Mulk Raj Anand, Raja Rao and R. K. Narayan: The Polemics of Myth making and Influence of Gandhi". Creative Launcher 6, n.º 2 (30 de junho de 2021): 19–24. http://dx.doi.org/10.53032/tcl.2021.6.2.04.

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The present paper represents the three triumvirs of Indian English novel at the critical juncture of the early twentieth century when Gandhian thoughts and polemics were influential throughout India. The paper seeks to explore how under Gandhian presence–both physical as well as metaphorical, these three novelists attempted to explore the myths and mythical narratives of Indian civilization and culture to manifest the ‘collective unconscious’ of the Indian sensibilities. Furthermore, it also tries to understand the polemics of myth-making in the context of post-colonial politics and writing. The nationalist culture of the early twentieth century and the contribution of these writers are being explored to analyze how their narratives are national allegories.

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Nikolaeva, O. V. "Discursive-Pragmatic Creativity in English-Language Chinese Mass Media". Nauchnyi dialog 11, n.º 2 (19 de março de 2022): 221–38. http://dx.doi.org/10.24224/2227-1295-2022-11-2-221-238.

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The issue of linguistic creativity in Chinese mass media sources published in English is considered. The novelty of the study lies in the fact that the English-language discourse of the Chinese mass media is studied as an independent culturally conditioned speech activity phenomenon that actualizes the cultural values of China and the civilizational values of the East. It is substantiated that linguistic creativity is realized in English texts through various forms of manifestation of Chinese national communicative identity: proverbs, allegories, analogies, hints, allusions, rooted in Chinese history, philosophy and folk experience. The updated concepts of proverbs emphasize the values of constant evolutionary movement on the principle of “movement in the still” and the values of collectivism, which are significant both in the country itself and in the region and the world. The collectivism peculiar to China determined the accentuation of the anti-value concepts of hegemony, shame, slander and humiliation. It has been proved that linguistic creativity in the Chinese media in English is also expressed in wordplay and word creation, if this contributes to a more effective presentation of China's position to the English-speaking audience and does not violate the principle of appropriateness. It has been established that in the Chinese English-language mass media, linguistic creativity is of a discursive-pragmatic nature, allows copying samples of linguistic creativity from English-language media and is supplemented with new associations and meanings in their own cultural context.

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Akkoyun, Burcu Kayışcı. "After the Night, Before the Gate: Kafkaesque Imaginations and Dystopian Speculations in the Mediterranean". Utopian Studies 35, n.º 1 (março de 2024): 152–72. http://dx.doi.org/10.5325/utopianstudies.35.1.0152.

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

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Baynes-Ross, Felisa. "The Life of Love and Resistance to Clerical Authority in Book to a Mother and Middle English Lollard Writing". Journal of Medieval and Early Modern Studies 51, n.º 2 (1 de maio de 2021): 215–40. http://dx.doi.org/10.1215/10829636-8929052.

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Among vernacular religious manuals composed for women in the fourteenth century, Book to a Mother takes the unusual position of rejecting cloistered life for a widow's emulation and presents an alternative program of reading based on love and imitatio Christi. This essay reexamines Book to a Mother's adaptation of allegories of the cloister and its transformation of clerical practices of reading alongside lollard polemical writings that also sidestep priestly authority and institutional religion in Christian life. Although Book's use of polemical discourse has been downplayed or treated as separate from its devotional aims, this essay argues that Book combines devotion and dissent to empower the mother's reading, preaching, and living, and that such a dialogue is characteristic of lollard forms of living. In its attention to polemic, this analysis is significant for understanding the history of vernacular theologies and their experimentation with different rhetorical modes for reshaping belief and practice.

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Slocum, Leah. "South African Allegories in Richard Jefferies’s After London; or Wild England (1885)". Victoriographies 14, n.º 2 (julho de 2024): 156–75. http://dx.doi.org/10.3366/vic.2024.0531.

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This paper argues that Richard Jefferies’s After London (1885), often praised as a pioneering work of speculative fiction, has not been sufficiently understood within the context of late-Victorian imperial expansion. While After London is frequently read in tandem with Jefferies’s nature essays and speculative fiction like H. G. Wells’s The Time Machine (1895), I locate the novel within the generic conventions of lost world fiction, a subgenre of the imperial romance associated with masculine adventure tales. Analysing After London’s parallels with, and potential influences on, H. Rider Haggard’s King Solomon’s Mines (1885), published later that same year, I argue that Jefferies’s unflattering portrayal of English ‘Bushmen’, coupled with the geography of Wild England, gesture emphatically to South Africa. In turn, the motif of a ‘relapse into barbarism’ serves to rationalise the fantasies of terra nullius [‘nobody’s land’] and extractive treasure hunting that Felix Aquila, the quixotic hero, enacts. By connecting After London to Haggard’s highly influential fiction and drawing on Jefferies’s writings about British colonialism in South Africa and the conventions of travel literature, cartography, and ethnography, this paper provides a more complete understanding of Jefferies’s contributions to the canon of lost world fiction.

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Chaudhary, Zahid R. "Steve Edwards. The Making of English Photography: Allegories. University Park: Pennsylvania State University Press, 2006. Pp. 358. $94.00 (cloth)." Journal of British Studies 48, n.º 2 (abril de 2009): 538–39. http://dx.doi.org/10.1086/598908.

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Ali, Shakir Hussein. "Political and Social Commentary in Contemporary English Drama: Angels in America by Tony Kushner, the History Boys by Alan Bennett and the Crucible by Arthur Miller". Integrated Journal for Research in Arts and Humanities 4, n.º 3 (31 de maio de 2024): 56–60. http://dx.doi.org/10.55544/ijrah.4.3.11.

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For centuries, dramatists have utilized the powerful aspect of theatre to offer perceptive analyses of societal happenings and, in the process, cause a lot of positive changes in man and his environment. This essay discusses this fact by citing Tony Kushner's Angels in America, Alan Bennett's The History Boys, Arthur Miller's The Crucible, and Tony Kushner's Angels in America, drawing upon Levinas and Benjamin's theories, Kushner's political play. This article shows how the three works examples of books about people, events, or society at large are provided by Tony Kushner's Angels in America, Alan Bennett's The History Boys, and Arthur Miller's The Crucible portray the social and political context in which they were written through symbolism, metaphor, and sometimes even a straightforward comparison. These three plays are forecasting because they are both allegories for the times they were written for and have a contemporary interpretation. Each of the three plays addresses a different aspect of society and politics while also addressing the human condition.

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Davis, Leith. "Allegories of Union in Irish and English Writing, 1790-1870: Politics, History, and the Family from Edgeworth to Arnold (review)". Victorian Studies 44, n.º 4 (2002): 684–86. http://dx.doi.org/10.1353/vic.2003.0011.

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Fonteyn, David Michael. "Learning to Read Country: Bruce Pascoe’s Earth, an Indigenous Ecological Allegory". Swamphen: a Journal of Cultural Ecology (ASLEC-ANZ) 4 (1 de março de 2015): 35–51. http://dx.doi.org/10.60162/swamphen.4.10619.

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Allegories contain specific forms and techniques which define a text as an allegory, including an intention written into the text. The reader is required to make an effort to determine that intention if they are to uncover the allegory. Also, allegories function didactically to educate the reader in a certain way, and, through that education, transform the reader. This is the traditional function of allegory.In this paper, I read Bruce Pascoe’s 2001 novel, Earth, as an example of what I term an ‘Indigenous ecological allegory’. The novel encodes in allegorical form an Indigenous worldview of the natural world. Many theorists agree that such a worldview can broadly be termed ecological. The didactic principle is to educate the reader about this Indigenous worldview of Country. As the reader comes to an understanding of Country, the narrative events, which describe a colonial (1880s) war between non-indigenous and indigenous people, as well as the language that encodes those events, become re-interpreted through this alternative metaphysics. What emerges is a possibility for the overturning of incipient dualism. The growth in the reader’s knowledge of Country opens the way to mutual acceptance. Country makes welcome all people to its land on the provision of respect and a commitment to its care.Pascoe’s novel utilises medieval allegorical forms, techniques and strategies in order to expose the narratives and language of the Australian Tradition to the language of the ‘other’ of Indigenous Country, that is (more specifically) the Wathaurong language and worldview that it encodes. The allegorical techniques include a cyclic narrative structure involving a Threshold scene followed by related scenes and commentary, direct address to the reader, narrative digression, debate, allegorical names and puns. Using these techniques, Pascoe uncovers a polysemy that has developed within the English language in its encounter with the Indigenous people. Finally, while allegory has yet to be studied in ecocrticisim as a form for writing nature, I argue that it is an ideal literary form in which Nature and an ecological worldview may be portrayed in a written text.

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Walsh, Susan. "Mary Jean Corbett. Allegories of Union in Irish and English Writing, 1790-1870: Politics, History, and the Family from Edgeworth to Arnold". Victorians Institute Journal 29 (1 de dezembro de 2001): 221–28. http://dx.doi.org/10.5325/victinstj.29.1.0221.

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Kravtsov, S. M., e T. L. Chernossitova. "APPLICATION AS A WAY OF FORMING A LINGUOCULTURAL DIALOGUE IN NANCY HUSTON'S BILINGUAL NOVEL "CANTIQUE DES PLAINES" / "PLAINSONG"". Modern Linguistic and Methodical-and-Didactic Researches, n.º 4(35) (31 de dezembro de 2021): 73–79. http://dx.doi.org/10.36622/mlmdr.2021.33.62.008.

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Problem statement. The study of bilingual novels created by translingual writers who use several languages in their creative activities is one of the most urgent problems of language theory, specifically in such areas as sociolinguistics, stylistics, language and society, language and culture. Such works, translated by the author from one language to another and addressed to representatives of different ethnic communities, are of a linguistic and socio-cultural nature, which is achieved by the writer through the creation of an intertext containing intra-textual inclusions based on allegories, reminiscences, allusions, citations and applications. At the same time, the application plays a very important role in problem solving of forming a linguistic and cultural dialogue in a bilingual novel. The results of the study. In the French-language version of Nancy Huston's novel «Cantique des plaines», created as a result of self-translation of the English-language version of her novel «Plainsong», many text applications in the form of fragments of songs are revealed, by means of which the author forms a linguistic and cultural dialogue, and creates not only a semantic, but also a musical background of the novel. It is established that in order to form a linguistic and cultural dialogue in a bilingual novel, applications in the form of song fragments may not coincide in the English and French versions. This effect is achieved in the French-language version through the use of citations with their extension by word combinations; the use of lexemes with a more specific, accurate meaning than their English counterparts; the use of paronyms of their English counterparts; the use of a literal translation of songs from English into French; the use of including a stanza from an English-language song in the translation into French, while preserving the rhyme without distorting the original meaning of the song itself. Conclusion. The results of the analysis lead to the conclusion that the application of song fragments in Nancy Huston's novel «Cantique des plaines» / «Plainsong» is a rather productive stylistic technique and has several types of implementation, depending on the author's need to create a certain semantic, emotional and musical background of the work. Due to the wide use and adequate choice of a particular type of application by a translingual writer, it serves as an effective way of forming a linguistic and cultural dialogue in Nancy Huston's bilingual novel «Cantique des plaines» / «Plainsong». The results of the study indicate that it is relevant not only for the theory of language, but also for Romance and Germanic linguistics.

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Levchenko, Illia. "The engraving of John Droeshout ‘King James I of England and VI of Scotland with Truth and Time, Memory and History’ (1651): an interpretation". Text and Image: Essential Problems in Art History, n.º 2 (2020): 52–71. http://dx.doi.org/10.17721/2519-4801.2020.2.03.

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This essay aimed at iconological analysis of an engraving by John Droeshout. During the study, the author applied classical methods of art history: iconological and iconographical, method of formal stylistic analysis of Heinrich Wölfflin, culture-historical method of Jacob Burkhardt. The engraving dates back to 1651 – by that time the King has been already dead. Thus, it allows to explore the commemorative and representative practices of his successors. Droeshout's engraving and poetic commentary testify that the language of visual arts was perceived as optional and ancillary; one that helps to understand the plot of the book better (visually). Droeshout tests the weakening of the concept of ‘the divine right of Kings’. The images of skulls, time and candles are typical allegories of memento mori and vanitas. These images function in two dimensions at once: 1) indicating that King dies in the same way as ordinary people do; 2) while connecting the anthropomorphic images of Time, Truth, History, Memory they also indicating the inevitable restoration of Truth, which Time will return to History with the help of Memory. The prospect of further research is the disclosure of interaction between the narrative and the image of James I, which functioned in the English society of the revolutionary period (1640-1689). At the same time the ‘visual language’ of the elements of engraving (the symbolism of windows next to the figures of Memory and History, rugs behind the King's figure) should be explored.

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Martynenko, Ekaterina A. "Emblems of Scotland in Alasdair Gray’s Fiction". Proceedings of Southern Federal University. Philology 25, n.º 3 (30 de setembro de 2021): 102–13. http://dx.doi.org/10.18522/1995-0640-2021-3-102-113.

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Alasdair Gray is one of the most influential post-war Scottish writer along with Muriel Spark, Robin Jenkins, and James Kelman. He is wellknown not only as a contemporary novelist, intellectual, and esthete but also as a political activist and a Scottish independence supporter. Although his novels are written exclusively in English, they are characterized with a strong national flavor and are inspired by the ideas of the eminent Scottish scientists, philosophers, and community leaders. The article dwells on the analysis of Scottish national emblem in Alasdair Gray’s fiction. This emblem manifests itself through female nation figures, which were first used in Scottish nationalist discourse by Hugh MacDiarmid and Lewis Grassic Gibbon during the period of Scottish Literary Renaissance. One of the most recurrent themes in Alasdair Gray’s fiction are female suffering and entrapment, which serve as political allegories of the national inferiority complex («Scottish cringe») and subordinate position within the United Kingdom. Thus, the writer strives to include Scotland into the post-colonial framework. In order to re-imagine Scottish nation figure Alasdair Gray addresses both the literary tradition and the latest feminist ideas of his time. Unlike other contemporary Scottish writers who tend to present this figure as a passive victim of political injustice, Alasdair Gray intentionally makes her initiative and active non-victim. She is also constructed as a female monster, which alludes to discrepancy between country’s rich history and its «young» parliament.

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Knyazev, Pavel. "The Images of Power in the Public Space of Early Restoration England". ISTORIYA 13, n.º 1 (111) (2022): 0. http://dx.doi.org/10.18254/s207987840019015-5.

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The article deals with the main features of the public representation of the power images during the early Stuart Restoration. The problem is studied on the material of the solemn entry of the English King Charles II into London on the eve of his coronation, April 22, 1661. Prior to this event, four triumphal arches were built in the city center, using the main symbols and allegories associated with the restoration of the monarchy. Based on a wide range of sources (official descriptions of celebrations, engravings, poetic works and diaries), the authors study the characteristic features of the power images of the early Restoration. Firstly, an important role in the construction of these images was played by the use of the heritage of the Antiquity, mainly of the works of Virgil. England was represented as the new Rome, and Charles II was seen as the new Augustus. Secondly, like the early Stuarts, Charles II sought to present his rule as a new “Golden Age” — the era of prosperity and abundance. The latter, according to the architects of the arches, came to replace the chaos, desolation and discord of the civil wars and of the Interregnum. The symbolism of the arches helps us understand, how the legacy of that period was refracted in official rhetoric and in the minds of the Englishmen of the Restoration era. Finally, the images on the triumphal arches reflected the plans and aspirations of the new government, being a kind of “manifesto” of the new monarchy.

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Waters, John P. "Allegories of Union in Irish and English Writing, 1790-1870: Politics, History, and the Family from Edgeworth to Arnold. Mary Jean Corbett.Revolution, Counter-revolution, and Union: Ireland in the 1790s. Edited by Jim Smyth." Wordsworth Circle 32, n.º 4 (setembro de 2001): 266–69. http://dx.doi.org/10.1086/twc24044901.

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Кравцов, С. М., e Т. Л. Черноситова. "APPLICATION AS A WAY OF FORMING A LINGUOCULTURAL DIALOGUE IN NANCY HUSTON'S BILINGUAL NOVEL "CANTIQUE DES PLAINES" / "PLAINSONG"". НАУЧНЫЙ ЖУРНАЛ СОВРЕМЕННЫЕ ЛИНГВИСТИЧЕСКИЕ И МЕТОДИКО-ДИДАКТИЧЕСКИЕ ИССЛЕДОВАНИЯ, n.º 4(52) (14 de dezembro de 2021): 101–9. http://dx.doi.org/10.36622/vstu.2021.36.86.008.

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Постановка задачи. Исследование билингвальных художественных произведений, созданных писателями-транслингвами, использующими несколько языков в своей творческой деятельности, является одной из наиболее актуальных проблем теории языка, в частности таких ее областей, как социолингвистика, стилистика, язык и социум, язык и культура. Подобные произведения, переведённые автором с одного языка на другой и адресованные представителям разных этнических сообществ, носят лингвосоциокультурный характер, который достигается писателем посредством создания интертекста, содержащего внутритекстовые вкрапления, основанные на аллегориях, реминисценциях, аллюзиях, цитациях и аппликациях. При этом аппликации принадлежит весьма важная роль в решении задачи формирования лингвокультурного диалога в билингвальном романе. Результаты исследования. Во франкоязычной версии романа Нэнси Хьюстон «Cantique des plaines», созданной в результате осуществленного ею самоперевода англоязычного романа «Plainsong», выявлено много текстовых аппликаций в виде фрагментов песен, с помощью которых автор формирует лингвокультурный диалог, а также создает не только смысловой, но и музыкальный фон произведения. Установлено, что с целью формирования лингвокультурного диалога в билингвальном романе аппликации в виде отрывков песен могут не совпадать в англоязычной и франкоязычной версиях. Данный эффект достигается во франкоязычной версии благодаря использованию цитат с расширением их посредством сочетаний слов; использованию лексем с более конкретным, точным значением, чем у их английских аналогов; использованию паронимов их английских аналогов; использованию дословного перевода песен с английского языка на французский; использованию включения в перевод на французский язык строфы из англоязычной песни с сохранением при переводе рифмы без искажения исходного смысла самой песни. Выводы. Результаты исследования позволяют сделать вывод о том, что аппликация песенных фрагментов в романе Нэнси Хьюстон «Cantique des plaines» / «Plainsong» является довольно продуктивным стилистическим приемом и имеет несколько видов реализации в зависимости от потребности автора в создании определенного смыслового, эмоционального и музыкального фона произведения. Благодаря широкому использованию и адекватному выбору писателем-транслингвом того или иного вида аппликации она служит эффективным способом формирования лингвокультурного диалога в билингвальном романе Нэнси Хьюстон «Cantique des plaines» / «Plainsong. Problem statement. The study of bilingual novels created by translingual writers who use several languages in their creative activities is one of the most urgent problems of language theory, specifically in such areas as sociolinguistics, stylistics, language and society, language and culture. Such works, translated by the author from one language to another and addressed to representatives of different ethnic communities, are of a linguistic and socio-cultural nature, which is achieved by the writer through the creation of an intertext containing intra-textual inclusions based on allegories, reminiscences, allusions, citations and applications. At the same time, the application plays a very important role in problem solving of forming a linguistic and cultural dialogue in a bilingual novel. The results of the study. In the French-language version of Nancy Huston's novel «Cantique des plaines», created as a result of self-translation of the English-language version of her novel «Plainsong», many text applications in the form of fragments of songs are revealed, by means of which the author forms a linguistic and cultural dialogue, and creates not only a semantic, but also a musical background of the novel. It is established that in order to form a linguistic and cultural dialogue in a bilingual novel, applications in the form of song fragments may not coincide in the English and French versions. This effect is achieved in the French-language version through the use of citations with their extension by word combinations; the use of lexemes with a more specific, accurate meaning than their English counterparts; the use of paronyms of their English counterparts; the use of a literal translation of songs from English into French; the use of including a stanza from an English-language song in the translation into French, while preserving the rhyme without distorting the original meaning of the song itself. Conclusion. The results of the analysis lead to the conclusion that the application of song fragments in Nancy Huston's novel «Cantique des plaines» / «Plainsong» is a rather productive stylistic technique and has several types of implementation, depending on the author's need to create a certain semantic, emotional and musical background of the work. Due to the wide use and adequate choice of a particular type of application by a translingual writer, it serves as an effective way of forming a linguistic and cultural dialogue in Nancy Huston's bilingual novel «Cantique des plaines» / «Plainsong». The results of the study indicate that it is relevant not only for the theory of language, but also for Romance and Germanic linguistics.

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Ó Gallchoir, Clíona. "Mary Jean Corbett,Allegories of Union in Irish and English Writing, 1790–1870: Politics, History and the Family from Edgeworth to Arnold, Cambridge: Cambridge UP, 2000. Pp. X + 228. ISBN 0-521-66132-3 (HB)". Nineteenth-Century Contexts 24, n.º 4 (dezembro de 2002): 447–48. http://dx.doi.org/10.1080/0890549022000026733.

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Wright, Julia M. "Mary Jean Corbett, Allegories of Union in Irish and English Writing, 1790-1870: Politics, History, and the Family from Edgeworth to Arnold. Cambridge: Cambridge UP, 2000. ISBN: 0-521-66132-3 (hbk.). Price: US$65.00 (£40.00)." Romanticism on the Net, n.º 25 (2002): 0. http://dx.doi.org/10.7202/006005ar.

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Kalugina, Olga A., Nataliia V. Saienko, Yevgeniya B. Novikova e Aleksei Yu Alipichev. "Development of students’ spirituality and morality through allegoric tales when teaching English as a foreign language". New Trends and Issues Proceedings on Humanities and Social Sciences 6, n.º 1 (10 de maio de 2019): 269–76. http://dx.doi.org/10.18844/prosoc.v6i1.4178.

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This paper considers the use of allegoric tales as an effective means of students’ ethic education while learning a foreign language. The social and psychological factors of the popularity of allegoric tales among adults in recent times are analysed. The place and role of allegoric tales in the youth’s spiritual and moral development are determined. They help pedagogical correction of the young people’s social behaviour, offer role models, promote positive interpersonal relationships, social skills, relieve stress and teach to resolve conflicts. The criteria for selecting allegoric tales are determined, the technology of students’ moral development through the use of allegoric tales when learning a foreign language is described, and some specific methods are suggested: the method of educational metamorphoses, philosophical dialogue, solving ethical dilemmas, theatre forum, etc. The efficiency of the proposed technology is proved by the results of the experiment carried out at a non-linguistic university. Keywords: Moral development, higher school students, allegoric tales, ethic education, non-linguistic university.

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Fernée, Tadd Graham. "Tolerance or a War on Shadows: John Milton’s Paradise Lost, the English Civil War, and the kaleidoscopic early modern frontier". English Studies at NBU 3, n.º 2 (30 de dezembro de 2017): 53–73. http://dx.doi.org/10.33919/esnbu.17.2.1.

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This article comprises two sections. The first analyses John Milton’s Paradise Lost in terms of the frontier dividing Providence and Chaos. Chaos is represented in violent images of the colonial world, the English Civil War, and Scientific Revolution cosmology. Providence intends to justify the ways of God in history. Milton’s retelling of the traditional Biblical Fall allegorises the 17th century Scientific Revolution, English society overwhelmed by market forces, and early modern nation-building wars. The second section analyses the English Civil War, focusing on Providence and Natural Rights. The Natural Rights defence of pluralism was the work of political refugees, attempting to curtail atrocities done in the name of Providence. Providence, meanwhile, was a political weapon, amidst new forces of capitalism, dynastic rivalry, and nationalism. This article examines Milton’s poetic visions, and the institutions and actions that characterized his political life in the English Revolution, and their interconnection.

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Evans, James. "She Stoops to Conquer: An Irish Expatriate Comedy". Restoration and Eighteenth-Century Theatre Research 32, n.º 1 (2017): 7–19. http://dx.doi.org/10.5325/rectr.32.1.0007.

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Abstract Oliver Goldsmith’s representation of two English gentlemen visiting a country house allegorizes Irish expatriate experience in She Stoops to Conquer. The play mocks a distinctive urban masculinity, the macaroni, by showing how ridiculous such fashionable characters become when removed from London. Resembling expatriates in this new, uncomfortable setting, the self-exiled gentlemen prompt Tony Lumpkin’s waggery, which is enhanced by Kate Hardcastle’s mockery of Marlow, her prospective husband. Goldsmith adapted elements of his plot from The Beaux Stratagem, a comedy by his Irish expatriate precursor George Farquhar, and he also incorporates autobiographical aspects of his Irish youth and recent English past. The laughter evoked by his fine gentlemen includes self-mockery, the result of Goldsmith’s double perspective on balancing the roles of outsider and insider, comic Irishman and fashionable Londoner.

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Green, Ashleigh. "Bird-Catching as a Love Allegory: A Comparison of Greco-Roman and Early Modern English Literature". Parergon 40, n.º 1 (2023): 181–208. http://dx.doi.org/10.1353/pgn.2023.a905419.

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Abstract: In the literature of early modern England, particularly Lyly, Shakespeare, and Spenser, love and sexual desire are commonly allegorised in terms of luring, trapping, and shooting birds. This paper investigates the classical origins of this symbolism, revealing how authors used Greek and Roman metaphors of love-as-fowling to inform their own works, with Cupid himself often imagined as a bird. It reconstructs technical and terminological aspects of fowling, arguing that we can only understand why bird-catching was used to express desire once we have answered fundamental questions of how, when, and by whom birds were traditionally caught.

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Dobrova, Victoria V., Vladimir M. Savitsky, Lilia R. Nurtdinova, Olga A. Kistanova e Natalia V. Ageenko. "Modeling of Semantic Structure of Similative Phraseological Units". SHS Web of Conferences 50 (2018): 01044. http://dx.doi.org/10.1051/shsconf/20185001044.

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The problem of modeling of semantic structure of similative phraseological units is described. With the use of formal meta language SESAME invented for the purposes of the conducted semantic analyses (a meaningful acronym of Standard Events and Situations Artificial Meta-language) on the basis of frame-scenario models, the authors made an attempt to analyze the transferred meaning and in particular the degree of modeling potential, the degree of explicitness / implicitness, the degree of semantic dividedness / integrity and the scale of the denotative area of English similative phraseological units. Similative phraseological units under consideration can be comparative, metaphoric or allegoric.

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ARAKELYAN, Hamlet. "ON THE STUDY OF THE PHONETIC GROUP OF LINGUOSTYLISTIC DEVICES AS MEANS OF MAKING ENGLISH MEDIA DISCOURSE MORE EFFECTIVE". Foreign Languages in Higher Education 24, n.º 1 (28) (25 de junho de 2020): 84–96. http://dx.doi.org/10.46991/flhe/2020.24.1.084.

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The effectiveness of speech is mostly conditioned by the nature of linguostylistic devices used in it. The study of modern English media discourse enables us to categorize them in five main groups, which are based on devices’ phonetic, graphical, syntactic, allegoric features, as well as features based on wordplay. Phonetic features are particularly significant in the context of speech impact, as they make the advertising message more efficient. By means of creating a specific rhythmical image, they guarantee ads’ impressive sounding form and their fixation in mind. This in its turn increases the effectiveness of advertisements.

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Brljak, V. "The Review of English Studies Prize Essay: The Satanic 'or': Milton and Protestant Anti-Allegorism". Review of English Studies 66, n.º 275 (21 de março de 2015): 403–22. http://dx.doi.org/10.1093/res/hgv011.

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Bipasha Mandal. "Shadow of Death, and the Pastische that is Obi Okonkwo: A Reevaluation of Achebe’s No Longer at Ease". Creative Launcher 5, n.º 6 (28 de fevereiro de 2021): 78–85. http://dx.doi.org/10.53032/tcl.2021.5.6.11.

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Chinua Achebe’s No Longer at Ease perfectly captures the ongoing plight of a colonized nation that is going through massive transitions. Though the character of Obi, Achebe sets out to map the future that Nigeria is headed towards which is dialectically interlocked with the past it has experienced. Extensive work has been done to carve out the literary parallels to and allusions mentioned in the novel. In this article I would like to argue how the character of Obi and his spiritual death allegorizes the fragmentation of the nation as a whole; how his fragmentation also stems from language, both Igbo and English, through which Obi fails to coherently express himself; furthermore, this paper would also try to establish religion's link to the same fragmentation. This article also points to a lacuna which will, hopefully, be filled and takes the research available in this area further.

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Spivey, Nigel. "Art and Archaeology". Greece and Rome 61, n.º 1 (4 de março de 2014): 133–36. http://dx.doi.org/10.1017/s0017383513000314.

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Mit Mythen Leben, the 2004 study of Roman sarcophagi by Paul Zanker and Björn Ewald, has appeared (with updated references) in English. This is a cause for gladness among all Anglophones engaged in the teaching of ancient art, because for non-German readers there was frankly nothing to match the intellectual scope and illustrative quality of Zanker–Ewald. Our only regret may be that students will find this explanation of the imagery on the sarcophagi so convincing that further debate seems futile. It is well known that Roman sarcophagi, of which thousands survive from the second and third centuries ad, have had a ‘presence’ or ‘afterlife’ in Western art history for many centuries: some were even re-used for Christian burials (the tale of one such case in Viterbo, the so-called ‘Bella Galiana’ sarcophagus, might be one addendum to the bibliography here). But what did they once signify? Many were produced in marble workshops of the eastern Mediterranean, from which the suspicion arises that Roman customers may not have exercised much discrimination when it came to selecting a subject or decorative scheme. (Our authors rather sidestep the question of how much was carved at sites of origin, such as Aphrodisias, then completed – with portrait features added? – in Rome.) Accepting, however, that an elaborate sarcophagus was a considerable investment – the cost calculated as about six months’ or even a year's salary for a captain in the Praetorian Guard – and supposing that the imagery were more than a status symbol, we are left with essentially two options. One is to follow the Belgian scholar Franz Cumont and others in analysing the iconography in terms of its clues to Roman beliefs about the afterlife. For certain images of myth this seems to work very well – the story of Alcestis, for example; for others, rather abstruse allegories must be sought: what eschatology is lodged in Medea's tragedy, or a scene of Achilles on Skyros? The alternative is to follow Zanker and Ewald in supposing that the sarcophagi do not so much represent the belief systems of the deceased as offer a sort of visual counselling to the bereaved. Hence the title – living with myths, not dying with them: for the regular occasions on which Romans were obliged to remember and honour the dead (parentalia, rosaria, etc.), sarcophagi on display in family burial enclosures provided ‘encouragement to free association’ (31) in various therapeutic and consolatory ways. These of course encompass some of Cumont's reconstructions of Stoic comfort and so on – but with its emphasis upon the response of viewers, the Zanker–Ewald approach clearly allows more flexibility of significance. To say that the message often reduces to ‘it could be worse’ is a brutal summary of the sympathetic and subtle readings expounded in this book. Yet occasionally one could wish for more sophistry. For example, in discussing the consolatory potential of images of Niobe and her unfortunate offspring – a ‘massacre of the innocents’ with obvious pertinence to mors immatura – the authors allude (74) to the curious persuasive strategy deployed by Achilles when he, at last in a mood to yield up the mangled body of Hector, invites the grief-stricken Priam to supper (Il. 24.603 ff.). As Malcolm Willcock long ago showed (CQ 14 [1964], 141 ff.), Achilles resorts to a formulaic paradeigma: ‘You must do this, because X, who was in more or less the same situation as you, and a more significant person, did it.’ Only in this the case the a fortiori argument relies upon a rather implausible twist to the usual story, namely that Niobe, having witnessed the deaths of her twelve children – and with their corpses still unburied, since everyone in the vicinity has been turned to stone – adjourns to dinner. No other telling of the myth mentions this detail: indeed, Niobe herself is usually the one turned to stone. Of course this version suits Achilles well enough: if Niobe lost all her children but not her appetite, why should Priam, who has lost merely one of his many sons and daughters, hesitate to share a meal? But did Homer expect his audience to be disconcerted by such mythical manipulation, or was it typical of what happened when myth served as consolation? And if Achilles/Homer may resort to such embroidery, did educated Romans feel inclined to do likewise? Was this part of the presence of myth in ‘everyday life’?

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Reeve, Matthew. "Art, Prophecy, and Drama in the Choir of Salisbury Cathedral". Religion and the Arts 10, n.º 2 (2006): 161–90. http://dx.doi.org/10.1163/156852906777977752.

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AbstractThe former painted cycle over the vaults of Salisbury Cathedral represents one of the great losses of thirteenth-century English art. This paper focuses on the imagery over the three-bay choir, which features twentyfour Old Testament kings and prophets each holding scrolls with texts prefiguring the Coming of Christ. The content of the cycle derives from a sermon, well known in the Middle Ages, by Pseudo-Augustine: Contra Judaeos, Paganos et Arianos. Yet the most immediate sources lie in twelfth and thirteenth-century extrapolations of the Pseudo-Augustinian sermon in liturgical drama, the so-called Ordo Prophetarum, or prophet plays. This observation leads to a discussion of the relationship of imagery to its liturgical setting. It is argued that the images on the choir vaults were also to be understood allegorically as types of the cathedral canons, who originally sat in the choir stalls below. A reading of the choir as a place of prophecy is located within traditions of liturgical commentary, which allegorize processions through churches as processions through Christian history. This leads to a discussion of the allegorization of the church interior in the Gothic period.

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Карасик, В. И. "THE WIND AS A LINGUISTIC AND CULTURAL SYMBOL IN THE RUSSIAN AND ENGLISH WORLDVIEW". Русистика и компаративистика, n.º 15 (2 de fevereiro de 2022): 219–35. http://dx.doi.org/10.25688/2619-0656.2021.15.13.

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Рассматривается символическое осмысление ветра в русском и английском языковом сознании, обусловленное его объективными характеристиками — движением воздуха, неуловимостью, степенью силы, вероятностью причинения вреда и возможностью использования энергии ветра, с одной стороны, и сравнением ветра с дыханием и отсюда — признанием его воплощением жизни, молодости и радости, с другой стороны. Ветер как лингвокультурный концепт осмысливается в понятийном, образном и ценностном аспектах. Анализируются понятийные характеристики этого концепта, его базовые и уточняющие признаки; рассматриваются ассоциативные признаки, определяемые основным содержанием этого концепта, этнокультурная специфика символизации ветра в русской и английской паремиологии, а также в поэтических произведениях. The paper deals with the wind as a symbol in Russian and English cultures. Its conceptualization and evaluative relevance is determined by its objective physical properties — air in motion, intangibility, gradable force, damageability, exploitation of its energy, on the one hand, and its comparison with breath, and hence taking it as embodiment of life, youth and joy, on the other hand. Wind as a linguistic and cultural concept may be analyzed as notion, image and value. Notional features of wind are subdivided into basic and specifying ones, the former include 1) motion of air, 2) physically felt, 3) natural, 4) horizontal, 5) moving in a certain direction, whereas the latter characterize wind from the point of view of 1) its force, 2) temperature, 3) usage, 4) uncontrollability, 5) changing circumstances. Properties of wind as conceptualized in the English worldview are specified concerning navigation. Basic associative features of wind are determined by its essential nature and metaphorically express breathing, and hence they symbolize life in general, movement, and therefore changing, novelty, freshness, and uncontrollability which is expressed as unpredictability and chaos. Ethnic specificity of is symbolization is mostly vivid in proverbs because this genre of speech reflects concrete circumstances of human everyday existence, that’s why in English proverbs and sayings we come across with many examples of sailing as a metaphor of life, whereas Russian allegoric interpretation of the wind is connected with various aspects of living on the firm ground. Proverbs about the wind express various recommendations of taking into account possible damage symbolically illustrated by this phenomenon of atmosphere. Wind is spoken about in proverbs as a dangerous force which however can be made use of. In aphorisms the idea of resistance to adversities comes to the fore, especially, in English aphorisms. Poetic texts emphasize the feeling of admiration people have when they think about the wind as a symbol of heavenly presence in our life, freedom and unpredictability. It should be mentioned that in poetry we come across not the ethnic specificity of the symbol in question but mostly its individual perception by an author.

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Nenarokova, Maria R. "John Bunyan’s Pilgrim’s Progress: From Emblem to Comics". Studia Litterarum 8, n.º 2 (2023): 108–39. http://dx.doi.org/10.22455/2500-4247-2023-8-2-108-139.

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The article analyses the imagery of John Bunyan’s allegorical treatise The Pilgrim’s Progress, which belongs to the most important works of both English and world culture, and its visual embodiment tradition. The illustration series for Bunyan’s book were created almost immediately after its first publication in 1678. The study shows that even the early illustrations for The Pilgrim’s Progress can be characterized as creolized texts, since they form a single complex with accompanying texts. Stable images associated with one or another episode of the book, are formed already at the end of the 17th century. They are used in illustrated books and comics in the 20th–21st centuries. Each of the images is the result of the development or revision of a long pictorial tradition. Although each image is based on the corresponding fragment of the book, its specific realizations reflect both the artist’s ideas and a certain artistic style of the time. As the language of culture underwent a global change at the turn of the 18th–19th centuries, the illustrations for The Pilgrim’s Progress gradually became more realistic, allegorism in them receded into the background. The artists of the 20th–21st centuries turned to new forms of material presentation, that is to illustrated books and comics. The illustrations accompanying the text of Bunyan’s book become allegorical again but on a different level, consistent with the perception of the modern readership.

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Highmore, Ben. "The Making of English Photography: Allegoriesby Steve EdwardsThe Haunted Gallery: Painting, Photography, Film c. 1900by Lynda NeadThe Tenth Muse: Writing about Cinema in the Modernist Periodby Laura Marcus". Visual Culture in Britain 10, n.º 3 (9 de dezembro de 2009): 361–68. http://dx.doi.org/10.1080/14714780903266604.

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Walls, Kathryn. "The Christian Lark: Spenser’s Faerie Queene I. x.51 and Shakespeare’s Sonnet 29". Explorations in Renaissance Culture 46, n.º 2 (18 de dezembro de 2020): 200–218. http://dx.doi.org/10.1163/23526963-46020005.

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Abstract The likening of the lark to the Christian worshipper as in Herbert’s “Easter Wings” was anticipated by both Spenser and Shakespeare in references that have been overlooked to date. These stand in a tradition most richly represented by the early fourteenth- century French allegorist Guillaume de Deguileville, in his Pèlerinage de l’Ame, in which the pilgrim soul, guided towards the gate of Heaven by his guardian angel, finds himself surrounded by larks whose cruciform shapes in flying match their singing of the name “Jhesu.” Having fallen for the second time when fighting the dragon, Spenser’s Red Cross Knight rises on the third morning to find himself victorious. In his rising he is compared with the lark at dawn. The Edenic setting (which underlines the theme of the redemption of “fallen” man by the risen Christ) is also illuminated by Deguileville’s Ame; Spenser’s two trees are reminiscent of the “green and the dry” in the French allegory, according to which Christ appears as the apple pinned to the dry tree in reparation for the apple stolen by Adam. When one examines Shakespeare’s reference to the lark in Sonnet 29 in the light of the tradition represented by Deguileville (whose work not only Spenser but also Shakespeare might have read in English translation) the question arises as to whether the beloved addressed in line 10 (“thee”) could be Christ, and the speaker a Christian worshipper moving from self reproach to Christian gratitude. Such an interpretation is challenged by the standard assumption that the sonnets reflect a narrative produced by a love triangle. But from Petrarch’s Canzoniere on, sequences of love sonnets had contained poems of religious adoration.

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Matei-Chesnoiu, Monica. "Shakespeare’s Infernal Rivers : Topological Space and Dramatic Descensus ad Inferos". Recherches anglaises et nord-américaines 50, n.º 1 (2017): 43–55. http://dx.doi.org/10.3406/ranam.2017.1547.

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Drawing on recent theories of geocriticism and spatial literary studies, mathematics, and cultural geography, this paper traces the courses of five rivers of the underworld in Greek mythology (the Styx and its affluent rivers, the Acheron, the Phlegethon, the Lethe, and the Cocytus) to demonstrate the blurred borderlines, functional relationships and connectivity of Shakespeare’s riverine imaginary spaces as revealed in theatrical action. Articulating notions of topology, this paper approaches space as relational and multi-layered. Early modern English theatre offers a particularly intricate intersection of spaces : the urban space of London, the space of the stage itself, evocations of various settings, more or less fictionalized and geographically and temporally removed symbolic spaces, as well as migrations of motifs from other cultures. The notion of topology conceives of theatrical space in terms of structural links. Consequently, I suggest the related idea of telemesic space, which allows different times, places and modes of representation, such as mythology, to blend on stage, which functions as a nodal point. Rivers of the underworld emerge as particularly resonant in this regard when evoked on stage. They are topological in that they both link and sever, and that they allow for a fluid transfer between early modern geographies and mythological dimensions. Shakespeare’s rivers of the underworld are located everywhere and nowhere— according to dramatic purpose — and their shifting uses reveal the topological homeomorphism of dynamic theatrical systems. Classical, medieval, and Renaissance tropes of descent to the underworld figured by infernal rivers are embodied into the actual descent to the theatre’s hell trapdoor and allegorize images of menace, terror, and dismemberment.

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Miola, Robert S. "Lesse Greeke? Homer in Jonson and Shakespeare". Ben Jonson Journal 23, n.º 1 (maio de 2016): 101–26. http://dx.doi.org/10.3366/bjj.2016.0154.

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Throughout their careers both Jonson and Shakespeare often encountered Homer, who left a deep impress on their works. Jonson read Homer directly in Greek but Shakespeare did not, or if he did, he left no evidence of that reading in extant works. Both Jonson and Shakespeare encountered Homer indirectly in Latin recollections by Vergil, Horace, Ovid and others, in English translations, in handbooks and mythographies, in derivative poems and plays, in descendant traditions, and in plentiful allusions. Though their appropriations differ significantly, Jonson and Shakespeare both present comedic impersonations of Homeric scenes and figures – the parodic replay of the council of the gods (Iliad 1) in Poetaster (1601) 4.5 and the appearance of “sweet warman” Hector (5.2.659) in the Masque of the Nine Worthies (Love's Labor's Lost, 1588–97). Homer's Vulcan and Venus furnish positive depictions of love and marriage in The Haddington Masque (1608) as do his Hector and Andromache in Julius Caesar (1599), which features other significant recollections. Both Jonson and Shakespeare recall Homer to explore the dark side of honor and fame: Circe and Ate supply the anti-masque in the Masque of Queens (1609), and scenes from Chapman's Iliad supply the comical or tragical satire, Troilus and Cressida (c. 1601). Both poets put Homer to abstract and philosophical uses: Zeus's chain and Venus's ceston (girdle), allegorized, appears throughout Jonson's work and function as central symbols in Hymenaei (1606); Homer's depiction of the tension between fate and free will, between the omnipotent gods and willing humans, though mediated, inflects the language and action of Coriolanus (c. 1608). Ben Jonson and William Shakespeare practice a kind of inventive imitatio which, according to classical and neo-classical precept, re-reads classical texts in order to make them into something new.

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"The making of English photography: allegories". Choice Reviews Online 44, n.º 10 (1 de junho de 2007): 44–5460. http://dx.doi.org/10.5860/choice.44-5460.

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Alipour, Faeze, Asghar Norouzi e Seyed Hamzeh Hosseini. "A Scoping Review on the Use of Rumi’s Allegories and Metaphors in Psychotherapy". Iranian Journal of Psychiatry and Behavioral Sciences In Press, In Press (17 de abril de 2024). http://dx.doi.org/10.5812/ijpbs-142718.

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Context: Utilizing metaphors assists clients in gaining insight and effecting changes in their lives. Given that Rumi predominantly uses metaphors and allegories to convey profound thoughts, we have focused our attention on his works. This review aims to evaluate what is known from the research literature about the utilization of Rumi’s metaphors and allegories in the context of psychotherapy. Evidence Acquisition: The literature search was conducted in Scopus, PsychInfo, Proquest, Google Scholar, PubMed, and Cochrane databases in English, and SID and Google Scholar databases in Persian (until May 31, 2022). To identify relevant literature, the searched terms included Persian and English key terms: “Rumi,” “Psychology,” and “Psychotherapy.” The studies included in our review were those published in either English or Persian and specifically focused on therapeutic approaches. We excluded studies that had a religious, mystical, philosophical, or literary view of Rumi's thoughts. Results: Overall, 24 studies were included in this scoping review. Among the studies, Rumi's metaphors and allegories have been employed more in cognitive, mindfulness-based, and existential-humanistic approaches (29%, 29%, and 25%, respectively). Additionally, three studies developed an interventional package based on Rumi’s thoughts. We found that the number of studies using Rumi's ideas in psychotherapy approaches has been growing increasingly in recent years, with 10 of 24 studies published in 2020 and 2021. Conclusions: Although the small number of identified articles makes definitive conclusions challenging, they reveal that Rumi's metaphors and allegories have the potential to enhance clients' insight within diverse therapeutic approaches. It is suggested that the metaphors and allegories in Rumi's thoughts can be effectively utilized across a wide spectrum of cultural contexts.

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"Allegories of union in Irish and English writing, 1790-1870". Choice Reviews Online 38, n.º 07 (1 de março de 2001): 38–3747. http://dx.doi.org/10.5860/choice.38-3747.

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"Allegories of war: language and violence in Old English poetry". Choice Reviews Online 28, n.º 01 (1 de setembro de 1990): 28–0135. http://dx.doi.org/10.5860/choice.28-0135.

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"Allegories of War: Language and Violence in Old English Poetry.John P. Hermann". Speculum 67, n.º 4 (outubro de 1992): 983–86. http://dx.doi.org/10.2307/2863508.

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"Hermann, J. P., Allegories of War: Language and Violence in Old English Poetry". Notes and Queries, setembro de 1993. http://dx.doi.org/10.1093/nq/40.3.354.

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Handy, Ellen. "Ellen Handy. Review of "Julia Margaret Cameron" by Joanne Lukitsh and "The Making of English Photography: Allegories" by Steve Edwards." caa.reviews, 27 de novembro de 2007. http://dx.doi.org/10.3202/caa.reviews.2007.107.

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Jambet, Christian. "The Philosophical Allegories and Mystical Treatises. A Parallel Persian-English Text Edited and Translated with an Introduction by Wheeler M. Thackston Jr., Costa Mesa, CA, Mazda Publishers, 1999, xxxiii-131-122 p." Abstracta Iranica, Volume 22 (15 de maio de 2001). http://dx.doi.org/10.4000/abstractairanica.36937.

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Dr. Sobia Tahir, Mehak Maqbool e Aneel Waqas Khan. "Sufism in Attar's "The Conference of the Birds" Selected Translation by Peter Avery: Representations of Mystical Experience in Islamic Literature". Al-NASR, 23 de fevereiro de 2024, 51–62. http://dx.doi.org/10.53762/alnasr.03.01.e04.

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In this paper, we seek to evaluate the presentation of Sufism in Attar's “The Conference of the Birds”, a Poem translated into the English by Peter Avery, in the Islamic literature. The investigation in its turn is directed on the modern writings to expose how the authors derive from the Sufi traditions the themes, the symbols, and acts to allegorize the many mystical experiences and spiritual search. The combination of literature, cultural, and also religious studies will bring in new perspectives to the study of Sufism and fiction to also enhance our understanding of the connection between Sufism and the fiction, and its importance concerning the modern Muslim identity and the spirituality.

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