Готові списки джерел за темами / Allegoria moderna

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Добірка наукової літератури з теми "Allegoria moderna"

Автор: Grafiati

Опубліковано: 10 березня 2023

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Статті в журналах з теми "Allegoria moderna"

Crisp, Peter. "The Pilgrim’s Progress: Allegory or novel?" Language and Literature: International Journal of Stylistics 21, no. 4 (November 2012): 328–44. http://dx.doi.org/10.1177/0963947012444953.

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A tradition going back to Coleridge asserts that The Pilgrim’s Progress is not a true allegory but rather a proto-novel expressive of early modern individualism. The work is radically individualistic, but it is also truly an allegory. Recent research has emphasized how closely related metaphor often is to metonymy and how intimately the two can interact to produce metaphtonymy. This interaction is just as important in allegory as in purely linguistic metaphor and metonymy. The Pilgrim’s Progress makes subtle use of conceptual metaphtonymy to express its individualism. Although the degree of individualism these cognitive structures express is greater than anything in earlier allegorical tradition, the structures themselves are inherited from medieval allegories such as Everyman. This sharing of major cognitive structure with earlier medieval allegories shows that The Pilgrim’s Progress is truly an allegory. An area in which the interaction of metaphor and metonymy is particularly notable is that of blending. The occurrence of highly creative blending in at least some of its scenes is further evidence for the truly allegoric nature of The Pilgrim’s Progress.

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Campbell, Julie. "Allegories of Clarity and Obscurity: Bunyan's and Beckett's." Samuel Beckett Today / Aujourd'hui 24, no. 1 (December 1, 2012): 89–103. http://dx.doi.org/10.1163/18757405-024001006.

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This article explores the ways in which Beckett's can be considered a modern allegory that both uses and confuses the methods of traditional allegory. John Bunyan, in , was able to depend upon his readers' knowledge of the Bible to decode the allegorical nature of the tale of Christian and his endeavours to overcome sinfulness and reach heaven. This discussion is concerned with the way Beckett redefines the allegoric mode in , simultaneously encouraging and thwarting the reader's interpretive activity, and the ways in which the allusions to Bunyan's text play a part in this process.

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Orgad, Zvi. "Prey of Pray: Allegorizing the Liturgical Practice." Arts 9, no. 1 (December 30, 2019): 3. http://dx.doi.org/10.3390/arts9010003.

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Numerous images embedded in the painted decorations in early modern Central and Eastern European synagogues conveyed allegorical messages to the congregation. The symbolism was derived from biblical verses, stories, legends, and prayers, and sometimes different allegories were combined to develop coherent stories. In the present case study, which concerns a bird, seemingly a nocturnal raptor, depicted on the ceiling of the Unterlimpurg Synagogue, I explore the symbolism of this image in the contexts of liturgy, eschatology, and folklore. I undertake a comparative analysis of paintings in medieval and early modern illuminated manuscripts—both Christian and Jewish—and in synagogues in both Eastern and Central Europe. I argue that in some Hebrew illuminated manuscripts and synagogue paintings, nocturnal birds of prey may have been positive representations of the Jewish people, rather than simply a response to their negative image in Christian literature and art, but also a symbol of redemption. In the Unterlimpurg Synagogue, the night bird of prey, combined with other symbolic elements, represented a complex allegoric picture of redemption, possibly implying the image of King David and the kabbalistic nighttime prayer Tikkun Ḥaẓot. This case study demonstrates the way in which early modern synagogue painters created allegoric paintings that captured contemporary religious and mystical ideas and liturgical developments.

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Maskarinec, Malika. "Allegory and Analogy in Menzel’s The Iron Rolling Mill." Zeitschrift für Kunstgeschichte 84, no. 1 (March 1, 2021): 58–77. http://dx.doi.org/10.1515/zkg-2021-1003.

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Abstract Adolph Menzel’s Das Eisenwalzwerk, or Moderne Cyklopen (The Iron Rolling Mill, or Modern Cyclopes) from 1875 depicts an analogy central to nineteenth- century thought, namely, that between the human motor and the combustion engine. The painting visualizes the differing rhythms of these two “machines” and the entropy produced as a result of that difference. The painting’s reflection on labor also elaborates an allegory of the activity of painting. Such an allegorical reading, motivated by particular attention to the objects placed in the painting’s foreground, entails a reevaluation of Menzel’s self-understanding and of the changing nature of allegory in nineteenth- century painting. In this instance, allegory operates not through identification but by means of analogy.

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Ackerman, Alan. "The Prompter’s Box: Modern Drama’s Allegories of Allegory." Modern Drama 49, no. 2 (May 2006): 1–8. http://dx.doi.org/10.3138/md.49.2.1.

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Ackerman, Alan. "The Prompter’s Box: Modern Drama’s Allegories of Allegory." Modern Drama 49, no. 2 (May 2006): 147–54. http://dx.doi.org/10.3138/md.49.2.147.

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Ackerman, Alan L. (Alan Louis). "The Prompter's Box: Modern Drama's Allegories of Allegory." Modern Drama 49, no. 2 (2006): 147–54. http://dx.doi.org/10.1353/mdr.2006.0058.

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Grillo, Jennie. "The Envelope and the Halo: Reading Susanna Allegorically." Interpretation: A Journal of Bible and Theology 72, no. 4 (September 13, 2018): 408–17. http://dx.doi.org/10.1177/0020964318784242.

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The tale of Susanna in the Greek versions of the book of Daniel has its roots in allegorical readings of Hebrew Scripture, and the church has read the story of Susanna both as an allegory of the church and of Christ. The allegorical treatment of Susanna as the church is the most acceptable to modern criticism, since it preserves the narrative coherence of the book; but the more fragmentary, piecemeal allegory of Susanna as Christ was compelling in antiquity, especially in visual interpretations. This essay explores how allegorical readings of Susanna as a Christ figure capture an essential part of the reader’s visual, non-sequential experience of the text and provides a satisfying and meaningful image for Christians.

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Brenner, Athalya. "To See Is To Assume: Whose Love Is Celebrated in the Song of Songs?1." Biblical Interpretation 1, no. 3 (1993): 265–84. http://dx.doi.org/10.1163/156851593x00160.

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AbstractThree characteristic features of the Song of Songs are its (a) disjointed or absent plot, (b) gynocentrism and (c) lack of theocentrism. Recognition of these features facilitates a reassessment of the book's allegorical readings, be they ancient or modern, Jewish or Christian, religious or ostensibly secular. The principal readings discussed are Rabin's reconsideration of the Song's intrinsic allegorical properties with reference to Tamil love poetry; M. Cohen's on the Song and Jewish mystical literature (the Shiur Qomah and Hekhalot Rabbati); Murphy's position of reading mutually reflected human love and divine love in the Song; Pope's identification of the Song's assumed, single female protagonist as a black goddess; and Fox's rejection of allegory because of his definitions of metaphor, metaphoric distance and meaning. In conclusion, some reflections on the (ancillary) development of the Jewish allegorical tradition and its links with the Song's cannonization are offered.

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Russell, Jesse. "The bear myth in Edmund Spenser’s Faerie Queene." Reinardus / Yearbook of the International Reynard Society 31 (December 31, 2019): 115–34. http://dx.doi.org/10.1075/rein.00028.rus.

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Abstract The animals in Edmund Spenser’s Faerie Queene have been skillfully treated as allegories, but these creatures also deserve a look from a mythological perspective. Perhaps the most important animal to begin with is the bear, which French historian Michel Pastoureau recently has explored in his monumental, The Bear: History of a Fallen King. Using many of Pastoureau’s insights (and criticizing others), we can make room for an analysis of The Faerie Queene as a text in which pre-modern and even ‘prehistorical’ images of bears meet with Early Modern views of the noble creature, demonstrating that, despite Spenser’s allegorical tendencies, the bears in The Faerie Queene still speak.

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Дисертації з теми "Allegoria moderna"

Ferrari, Sarah. "Le ragioni culturali del "dipingeremoderno". Paesaggio, ritratto e allegoria a Venezia negli anni di Giorgione." Doctoral thesis, Università degli studi di Padova, 2014. http://hdl.handle.net/11577/3423769.

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This research project aims to gain an in-depth analysis of Venetian Humanism giving evidence to facts, institutions and individual characters playing a significant role in relation to the development of new iconographies in Venetian painting. Particular attention has been given to Neoplatonic philosophy (the debate on the immortality of the soul); the new philology introduced by Ermolao Barbaro; the fortune of pastoral poetry (Theocritus and Sannazaro); the vernacular language (Bembo’s Asolani). Specific investigation into the art of Bellini, Giorgione and the young Titian has been undertaken, with particular attention to the representation of landscape, portrait and allegory
Il lavoro consiste in un’analisi approfondita del rinnovamento culturale e artistico che interessa Venezia tra la fine del Quattrocento e l’inizio del Cinquecento. Particolare attenzione è stata data ad alcune istanze culturali che si ritiene possano aver svolto un ruolo significativo in relazione alle novità dell’arte di Giorgione: la penetrazione della filosofia neoplatonica dentro e fuori le aule universitarie, l’importanza del dibattito intorno alla questione dell’immortalità dell’anima (la rinascita di Avicenna quale interprete della filosofia aristotelica), l’avvento di una nuova filologia promossa da Ermolao Barbaro, la fortuna della letteratura pastorale (Teocrito e l’Arcadia di Sannazaro) e il successo della lingua volgare (gli Asolani di Bembo). La tesi non intende, pertanto, perseguire uno studio monografico su Giorgione, ma proporre una lettura delle sue opere fondata su un dialogo serrato con il vivace clima intellettuale dell’epoca

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Winthrop, Emily. "Allegories of the Modern: The Female Nude in Art Nouveau." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4203.

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Modernism is a plurality, not a singular concept. This project explores examples of Art Nouveau nudes to describe the particular expressions of the modern through varied and complicated allegorical bodies. The female nude as a nexus for ideals of gender, art, and beauty, is informed by and constructs the understanding of these ideals within society. Art Nouveau thus employed the nude to represent complex manifestations of modernity. Three diverse cases provide the subjects of each chapter. All explore modernism through objects and interiors, in public and private environments, and each connects the decorative arts with accounts of European modernism in the late nineteenth and early twentieth century. The modernist movement, in these decades, is still predominantly understood through painting. This project draws its case studies from Paris, Glasgow, and Vienna, each a distinct cultural arena during the 1890s and 1900s: the sculptural furniture of François Rupert Carabin (1862-1932); the metalwork of Margaret Macdonald (1865-1933) and her sister Frances Macdonald (1873-1921); and the graphic motifs of Ver Sacrum, created by the artists of the first Vienna Secession (1897-1905). In conception and expression, these nudes articulated the diverse representational practices of different modernisms. They each embody drastically different histories, aesthetics, and social expressions. Their varied modernisms expose the prominent nationalism of Art Nouveau. Examination of these three very different cases expands and complicates current understandings of the nude, allegory, and the modern.

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Culatti, Marcella <1972&gt. "La raffigurazione delle arti in Italia: le allegorie della pittura e della scultura in epoca moderna." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2007. http://amsdottorato.unibo.it/612/1/culatti_tesi.pdf.

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Brummer, Esther Elliott. "The development of the Nuptial Allegory in early modern Venice." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609942.

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Spadaro, Katrina Lucia. "Epistemologies of Play: Folly, Allegory, and Embodiment in Early Modern Literature." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/25949.

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This thesis argues that the textual stylistics, and embodied forms, of Early Modern folly are complicit in constructing and maintaining networks of knowledge. This function emerges from a Menippean history that positions the Silenus Box – an interface of grotesque form and hidden knowledge – as an allegory for exegesis. In applying this allegory to the aesthetics and bodies of Early Modern folly, this thesis suggests that folly assumes an arbitrative role in epistemic networks. A prominent marker of this function is the discursive communities forming around, and through, foolery, rendering it a nucleus of philological, interpretive, and sociable systems. My four chapters test the possibilities and limits of this hypothesis by situating folly, as an exegetical allegory, in a range of discursive fields. Chapter One traces the strategic use of Menippean forms in three texts that intervene in humanist-scholastic debates: Lorenzo Valla’s Encomium of St. Thomas, Angelo Poliziano’s Lamia, and Erasmus’ The Praise of Folly (translated by Thomas Chaloner). It suggests that irony in these texts is presented as a codified form – one stratifying closed epistemic communities – a construction that persuades audiences to align with humanist principles as a signal of interpretive expertise. Chapter Two transports this principle into the Tudor Court, suggesting that courtier-fool types in Skelton’s Magnyfycence and John Heywood’s The Play of the Wether deliver interpretive provocations as catalysts for princely self-knowledge. In contrast, the final two chapters suggest that the Menippean aestheticisation of subaltern forms enables a renegotiation of knowledge as a category. Chapter Three explores the conceptual proximity of humanist fools with mentally disabled characters in two Shakespearean texts, Twelfth Night and King Lear. It suggests that this proximity might be antagonistic – Feste domineers over the exegetically-weak madman, Malvolio – but also recuperative, with Lear’s Fool coming to arbitrate new epistemic networks formed around shared bodily knowledge. Chapter Four uses Wallerstein’s world-systems theory to interrogate the status of ‘global folly’ in seventeenth-century nonsense verse. This chapter locates a rhythm of chiasmus in these texts, whereby the ‘novelties’ of the global periphery are co-opted for English sociability and amusement, but later come to characterise the epistemological disintegration of Civil War England. This thesis hopes to argue for a recuperative view of Menippean forms – one which acknowledges their complicity in elite humanist culture, but also emphasises how their porous form powerfully destabilises absolutes. My research yields a view of folly as a generative and highly-mobile aesthetic language, spinning discursive networks that reflect, construct, and tease open the structures of early modern epistemology.

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Zlatescu, Andrei-Paul. "Prospero's planet, magic, utopian and allegorical injuctions in the rise of the modern state." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/mq30837.pdf.

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Swannack, Frank Ian. "The political allegory of lovesickness and the lovesick womb in early modern studies, with an emphasis on Spenser." Thesis, University of Salford, 2010. http://usir.salford.ac.uk/26930/.

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The Elizabethan poet Edmund Spenser published his sonnet sequence Visions of the Worlds Vanitie in a collection called Complaints in 1591, and the Amoretti and Epithalamion in 1595. I am analysing these poems and other appropriate early modern texts by using the allegorical vehicle of the Renaissance medical and philosophical notion of lovesickness. However, in the late sixteenth and early seventeenth centuries, lovesickness is either interchangeable with or replaced by love-melancholy, which is a more fashionable illness describing the courtly Lover's suffering for his Lady. I am arguing that lovesickness is a more extreme illness. In Spenser's sonnet sequences Visions of the Worlds Vanitie and the Amoretti, I will analyse how the male Lover describes a bestial and grotesque condition as a destructive force, which invokes the courtly conflict between Lover and Lady. Spenser will also be compared and contrasted with other early modern sonnet sequences to identify different evocations of lovesickness, which employ language that is less hyperbolic than that found in Visions of the Worlds Vanitie and the Amoretti. Lovesickness will also be used to analyse the conflict between internal and external space, with a concept I have termed the lovesick womb. In early modern England, the womb is a powerful signifier because it is the source of extreme carnal desires, which are hidden from the patriarchal gaze. However, the lovesick womb not only conceals itself from patriarchal influence but it can also harm patriarchal law by intensifying its desire. The lovesick womb's inferred promiscuity that leads to unplanned pregnancies increases the desire of patriarchal law - to domineer and control. A political allegory of lovesickness and the lovesick womb will be used to provide an insightful critique of Queen Elizabeth I and her court. It also has implications for Spenser's own sense of identity as a representative New VllEnglish settler living in Ireland from 1580-1598. These implications serve further as a critique of Elizabethan colonial practice in which the queen's physical presence in Ireland is advocated as a solution to its problems.

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Temple, Camilla Isabel Eva. "Inscription, ecphrasis and allegory : the reception of the ancient Greek epigram and the Renaissance emblem in early modern English literature." Thesis, University of Bristol, 2016. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.738195.

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Paiva, Juliana Zanetti de. "Os nossos antepassados, de Italo Calvino, como alegoria do sujeito moderno." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269949.

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Orientador: Eduardo Sterzi de Carvalho Júnior
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-27T13:30:16Z (GMT). No. of bitstreams: 1 Paiva_JulianaZanettide_M.pdf: 24170742 bytes, checksum: 3d3f48b1a21422af2dcf63d63f7ccaa0 (MD5) Previous issue date: 2015
Resumo: O objetivo do nosso estudo é refletir sobre as três personagens principais da obra Os nossos antepassados como figurações alegóricas do sujeito moderno. O percurso que escolhemos percorrer foi apresentar alguns elementos sobre Calvino e a relação entre real e ficional na sua trajetória a partir do ponto de vista da crítica italiana. Em seguida, como existem várias definições e entendimentos acerca do que se pode definir por modernidade, explicitamos em quais concepões nos apoiamos neste estudo. Quanto à discussão acerca das concepções de alegoria, foi mais frutífero para nosso estudo problematizar esse conceito com base nas elaborações de Walter Benjamin. Por acharmos que a obra calviniana em análise mantém uma relação tensa com o contexto social da época de sua escrita, buscamos situar tal contexto, notadamente a especificidade da modernidade italiana, destacando alguns acontecimentos históricos na época da escrita das três histórias, com destaque para o debate sobre o neorrealismo italiano. Em seguida, apresentamos algumas das análises realizadas sobre a obra em estudo e procedemos à nossa análise. A divisão de Medardo, entendida por nós como mutilação, é relacionada aos conceitos de indivíduo concreto, particular e forma-sujeito burguesa abstrata e universal. Para nós, a dinâmica da vida social moderna é também uma dinâmica da subjetividade, em que a forma social pretende exigir dos indivíduos o constante apagamento de seus rastros de individualidade em proveito de uma forma de subjetividade geral e abstrata. Entretanto, os indivíduos concretos não são máquinas que apagam sua história de vida em proveito do social, ou seja, existem tensões que para nós são advindas dessa mutilação entre as exigências do todo social universal e a vida particular. Cosme, por sua vez, é por nós interpretado tanto como uma alegoria do sujeito moderno da Razão Instrumental com sua tendência a submeter o mundo aos imperativos da Razão quanto como uma desilusão-aporia em relação a essa racionalidade: não se sabe se Cosme está desiludido porque não conseguiu fazer o mundo ser guiado pela Razão ou porque notou na racionalização do mundo também as raízes da irracionalidade. Agilulfo nos parece uma imagem alegórica do que se poderia chamar de armadura de caráter do sujeito moderno, de uma abstração de subjetividade, pois o cavaleiro expressa a negação da individualidade do ser humano, em proveito de uma forma-sujeito apta à vida moderna, um sujeito que tem ações e pensamentos em consonância com o ritmo moderno, com a aceitação da realidade vivida sem realizar atritos com ela
Abstract: The aim of our study is to reflect on the three main characters of the work Os Nossos Antepassados as allegorical figurations of the modern subject. The route we choose to follow was to present a brief overview of Calvino and the relationship between the real and the fictional in his trajectory from the point of view of the Italian criticism. After that, as there are several definitions and understandings of what can be defined as modernity, we made explicit in which conceptions we are supported in this study. For the discussion about allegory conceptions, it was more fruitful to discuss this concept based on Walter Benjamin¿s elaborations. As we think that Calvino¿s work, in analysis here, keeps a tense relation with the social context of his writing period, we seek to situate such context, notably the specificity of Italian modernity, highlighting some historical events at that period when those three stories were written, emphasizing the debate on the Italian neorealism. Then, we present some of the performed analyzes on the work in study and proceeded to our analysis. Medardo¿s division, understood by us as mutilation, it is related to the concepts of concrete individual, particular and abstract bourgeois and universal subject-form. For us, the dynamics of modern social life is also a dynamic of the subjectivity, where the social form intendeds to require the individuals the constant erasing of their traces of individuality in favor of a form of general and abstract subjectivity. However, the concrete individuals are not machines that erase their life story for the benefit of social, i.e., there are tensions that for us come from this mutilation between the demands of the whole universal social and the private life. Cosme, in turn, is interpreted by us both as an allegory of the modern subject of the Instrumental Reason with his tendency to submit the world to the imperatives of the Reason and as a disappointment-aporia for this rationality: it is not known if Cosme is disappointed because he could not make the world be guided by the Reason or because he also noticed in the world's rationalization the roots of irrationality. Agilulfo seems an allegorical picture of what might be called the modern subject character armor, a subjectivity abstraction as the cavalryman expresses the denial of the individuality of the human being, in favor of a subject-form capable to the modern life, a subject that has actions and thoughts in line with the modern rhythm, accepting the experienced reality without making friction with it
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Книги з теми "Allegoria moderna"

Pinottini, Marzio. Simbolo e allegoria nell'estetica moderna. Roma: Bulzoni, 1999.

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Rovereto, Museo d'arte moderna e. contemporanea di Trento e. Mito e allegoria: Nell'opera di Bonazza, Ratini, Disertori : Trento, MART, Palazzo delle Albere, 24 gennaio-31 marzo 2004 : breve guida. Trento [Italy]: MART, 2004.

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Alessandra, Tiddia, ed. Mito e allegoria: Nell'opera di Bonazza, Ratini, Disertori : Trento, MART, Palazzo delle Albere, 24 gennaio-31 marzo 2004 breve guida. Trento: MART, 2004.

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Museo d'arte moderna e contemporanea di Trento e Rovereto. Mito e allegoria: Nell'opera di Bonazza, Ratini, Disertori : Trento, MART, Palazzo delle Albere, 24 gennaio-31 marzo 2004 : breve guida. Trento [Italy]: MART, 2004.

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Tarnowski, Glen. Modern allegories. Laguna Beach, California: Masterpiece Pub., 2007.

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Hunter, Lynette. Modern Allegory and Fantasy. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19692-0.

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Allegori wa airŏni sai. Sŏul-si: Hansin Munhwasa, 1999.

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Giugliano, Antonello. Nietzsche, Rickert, Heidegger ed altre allegorie filosofiche. Napoli: Liguori, 1999.

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Giugliano, Antonello. Nietzsche, Rickert, Heidegger ed altre allegorie filosofiche. Napoli: Liguori, 1999.

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Fisette, Serge. Joëlle Morosoli: Allegorie de la contrainte. [Toronto]: Glendon Gallery, York University, 1998.

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Частини книг з теми "Allegoria moderna"

v. Graevenitz, Gerhart. "Gewendete Allegorie Das Ende der „Erlebnislyrik“ und die Vorbereitung einer Poetik der modernen Lyrik in Goethes Sonett-Zyklus von 1815/1827." In Allegorie, 97–117. Wiesbaden: VS Verlag für Sozialwissenschaften, 1998. http://dx.doi.org/10.1007/978-3-663-11957-9_5.

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Hellerstein, Marjorie. "Between The Acts: Virginia Woolf’s Modern Allegory." In Allegory Revisited, 201–11. Dordrecht: Springer Netherlands, 1994. http://dx.doi.org/10.1007/978-94-011-0898-0_14.

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Hunter, Lynette. "Modern Allegory and Fantasy." In Modern Allegory and Fantasy, 181–201. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19692-0_5.

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Hunter, Lynette. "Theories of Allegory." In Modern Allegory and Fantasy, 131–80. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19692-0_4.

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Hunter, Lynette. "Introduction." In Modern Allegory and Fantasy, 1–4. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19692-0_1.

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Hunter, Lynette. "Genre." In Modern Allegory and Fantasy, 5–38. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19692-0_2.

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Hunter, Lynette. "Theories of Fantasy." In Modern Allegory and Fantasy, 39–129. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19692-0_3.

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Lerner, Ross. "Allegories of Fanaticism." In Literature, Belief and Knowledge in Early Modern England, 153–72. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71359-5_7.

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Burns, Edward. "Rhetorical Character: History and Allegory." In Character: Acting and Being on the Pre-Modern Stage, 39–89. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-09594-0_3.

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Tambling, Jeremy. "‘A Paralysed Dumb Witness’: Allegory in Bleak House." In Dickens, Violence and the Modern State, 71–97. London: Palgrave Macmillan UK, 1995. http://dx.doi.org/10.1057/9780230378322_4.

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Тези доповідей конференцій з теми "Allegoria moderna"

Figura Lange, Karen, and Sandra Davis Lakeman. "An Allegory of Good Government: A Comparison of Gothic Siena and Modern Los Angeles." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.26.

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Анотація:

As our American cities struggle with the problems of growth and development, the human initiated disasters of crime and violence threaten the very existence of the urban core ofmost large cities. Los Angeles dominates the American crime scene with its gangs and drug dealers, where violent crime will strike one in every three Angelenos in their lifetime. The city is a leading example of environmental disintegration preceding rampant crime. In fact, environmental decay, drug use and crime continue to rise apparently in collaboration with each other. Additionally, the social service organizations are overwhelmed by the influx of immigrants, teenage pregnancy, and AIDS.

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Nissan, Ephraim. "Semitic-language names formed by semantic motivation from ‘less’, and their transcultural fortune: Whig leaders at Balliol as Dryden’s “sons of Belial”, and Swahili Mbilikimo for ‘Pygmy’." In International Conference on Onomastics “Name and Naming”. Editura Mega, 2022. http://dx.doi.org/10.30816/iconn5/2019/19.

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The biblical compositional pattern “sons of no X” for “X–less ones” has been somewhat (just a bit) productive in Modern Hebrew, but as the Old Testament has been so influential across cultures since the Septuagint became available in the Hellenistic world, one comes across novel uses to which “son of Belial” has been put, such as in Dryden’s political allegory in Absalom and Achitophel, even as the etymology of Belial was not transparent to ones who did not know Hebrew and its word /bli/ ‘without’. Moreover, Arabic /bala/ ‘without’ also occurs in wordformation, and as the influence of Arabic along the eastern coast of Africa resulted in the Swahili language, the Swahili name for the Pigmies was formed as such an Arabic compound.

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