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Allegory
When we say that ̀Love is blind' or ̀Time flies' - making concepts sound like living beings - we are using the language of allegory. Painters have long relied on allegory to create ̀message pictures'. Once thought to rival literary works or political oratory in influence and prestige, such paintings, with their references to ancient myth, the Bible or astrology, all too often puzzle modern viewers. This book explains types of visual allegory in Western art, and the contexts in which they were originally created and viewed, through some of the most beautiful and intriguing pictures in the National Gallery, London. --Book Jacket.
The Allegory of Love
The Allegory of Love is a study in medieval tradition—the rise of both the sentiment called "Courtly Love" and of the allegorical method—from eleventh-century Languedoc through sixteenth-century England. C. S. Lewis devotes considerable attention to The Romance of the Rose and The Faerie Queene, and to such poets as Geoffrey Chaucer, John Gower, and Thomas Usk.
Allegorical Spectrum of the Parables of Jesus
Allegory in the parables of Jesus has never been addressed properly. By studying the allegorical features in parables and evaluating some former parable theories, current study hopes to bring insight to the hermeneutics of allegory in the parables of Jesus.
Allegory and the Work of Melancholy
Written using critical theory, especially by Walter Benjamin, Blanchot and Derrida, Allegory and the Work of Melancholy: The Late Medieval and Shakespeare reads medieval and early modern texts, exploring allegory within texts, allegorical readings of texts, and melancholy in texts. Authors studied are Langland and Chaucer, Hoccleve, on his madness, Lydgate and Henryson. Shakespeare's first tetralogy, the three parts of Henry VI and Richard III conclude this investigation of death, mourning, madness and of complaint. Benjamin's writings on allegory inspire this linking, which also considers Dürer, Baldung and Holbein and the dance of the dead motifs. The study sees subjectivity created as ob...
Allegory and Epic in English Renaissance Literature
Challenging conventional notions that literary allegorism declined precipitously around 1600, Kenneth Borris reassesses the Renaissance relations between allegory and heroic poetry, particularly in the major texts of Sidney, Spenser and Milton. Through wide-ranging consideration of Homeric and Virgilian reception and its influence on both continental and English literary theory, he shows that allegorical epic tended to double for and displace epic throughout the sixteenth and seventeenth centuries. Borris offers a fresh approach to the interaction of allegory with literary genres; focusing on epic, he further analyses the distinctive codes and conventions that constituted the generic repertoire of Renaissance allegorical epic poetry. Whereas standard literary history assumes Sidney opposes allegory, and that Milton minimises or rejects it in following Spenser, Borris's detailed readings demonstrate that Sidney and Milton are also major allegorists, and that Spenser remained so even in the latter books of The Faerie Queene. This book was first published in 2000.
The Language of Allegory
"The Language of Allegory examines a body of literature not often treated as a unified genre. Reading a number of texts that are traditionally characterized as allegories and that cover a wide time span, Maureen Quilligan identifies the distinctive generic elements they share. Originally published in 1979, this highly regarded work by a well-known feminist critic and theorist is now available in paperback." --back book cover.
Allegories of Dissent
Allegories of Dissent, the first book devoted to the literature of Agustin Gomez-Arcos, is a case study of the relationship between art and oppression. It positions his theater in relation to the historical trajectories of twentieth-century Spanish and European drama, and in so doing, traces the allegorical strategies and thematic transformations that emerge in his work during the course of his radical move from censored artist to bilingual exile. Gomez-Arcos's threefold experience with censorship, exile, and bilingualism has left a lasting imprint on his literary production. As he embarks on an artistic journey from censored playwright living in dictatorial Spain to bilingual exile writer residing in democratic France, his gradual employment of the French language comes to allegorize his quest for freedom of expression.
