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Declares L. Frank Baum's "The Wonderful Wizard of Oz" is a popular teaching tool in economics. Indicates some argue it was written as an allegory of Populist demands for a bimetallic monetary system. Counters that Baum was not sympathetic to Populist views and did not write the story as a monetary allegory. (JEH)

Draws parallel between 18th century British scientists unwillingness to recognize a non-scientist's discovery of how to determine longitude at sea with New York education leaders current unwillingness to consider alternatives to high-stakes testing. (PKP)

The ruins of Persepolis, the ceremonial capital of the Achaemenid Empire (559–330 BCE), are celebrated as a cultural heritage site and national monument in Iran. In 1971, these ruins became the setting for the Celebration of the 2,500th Anniversary of the Founding of the Persian Empire, orchestrated by Mohammad Reza Pahlavi. The Pahlavi regime aimed to fabricate a monarchical lineage that positioned the Pahlavi dynasty as the pinnacle of an uninterrupted historical continuum beginning with the Achaemenids and Cyrus the Great. The ceremonies featured a grandiose military parade with soldiers in historical costumes symbolically reenacting theprocessions of foreign emissaries depicted on Persepolis' walls, emphasizing the glory and grandeur of Iran's imperial past and its uninterrupted history. Conversely, a decade earlier, Iranian filmmaker and poet Fereydoun Rahnema's short documentary captured Persepolis in a starkly different light, presenting it as enigmatic ruins devoid of grandeur, prompting reflections on their lost original meaning. Utilizing Walter Benjamin's concepts of natural history, melancholia, and allegory, this article explores the allegorical implications of Rahnema's film. It argues that the documentary signifies the disintegration of the sublime image of Iran’s imperial origin, marking a shift where the imperial past becomes too eclipsed a signifier to serve as a cornerstone of national identity.

This essay places Sigmund Freud in a long tradition of allegorists who portray the psyche as self-disciplining. While Freud’s writings on the ego, id, and superego are reminiscent of premodern allegories, however, Freud is considerably less willing than many of his predecessors to encourage conscious self-discipline. Though he conceived of the superego as a disciplinary agent, Freud believed that analysis often calls for “the slow demolition of the hostile superego.” Psychoanalysis, in other words, entails a counter-confession: an intersubjective asceticism through which analyst and analysand discipline the discipliner within. The conclusion posits that the uncanny resemblance between Freud’s allegories and those of his premodern predecessors presents us a pedagogical opportunity to teach our students the long history of psychological allegory and help them appreciate the dynamic complexity of both Freud’s works and the archive of premodern allegory—bodies of writing that they often presuppose to be static, reductive, or irrelevant.

In the present article we try to examine the relationship between Plato's theory of Ideas and his political and ethical thoughts. First, we present an outline of the genesis of the theory of Ideas in "Meno", "Phaedo", and "Republic". Then, we go on to examine Plato's political and ethical thoughts in "Apology", "Protagoras", "Gorgias" and again "Republic". The study results in the conclusion that Plato's "cave allegory" is the climax of both his theory of Ideas and his politico-ethical thoughts. A close reading of "Cave Allegory" and comparing its main ideas with the crucial problems of "Protagoras" and "Gorgias" reveals the politico-ethical character of the theory of Ideas. Contrary to the sophists who think they are the locus of Truth, Socrates only keeps open the abyss of truth and makes the student turn around it. In "The Symposium", Alcibiades calls this "madness of philosophy". In the end, we try to provide a possible answer to Nietzsche's and Popper's reproaches to Plato and show that there may be a possible immanent reading of Plato's theory of Ideas. [ABSTRACT FROM AUTHOR]

The topic of consent within interpersonal relationships is sensitive and complex. A serious game can provide a safe medium for the exploration of the topic of consent. In this paper, we aim to alleviate the challenges of designing a serious game artefact with the implicit goal of exploring the topic of consent. The resulting artefact, "Case By Case", is a VR-based serious game targeting university students, which uses an allegory-based approach to achieve its goal. The participants play the role of a detective who is tasked with determining if individuals have committed theft, which serves as an allegory for breach of consent. "Case By Case" provides the users an opportunity to reflect on their decisions within the game and apply them to the complex situations of consent such as victim-blaming and bystander awareness. To evaluate the effectiveness of the game in achieving its implicit goal, we ran a user study (n = 24). The results show that "Case By Case" provided a safe environment for the users to reflect on the concept of consent and increase their understanding about the topic further. [ABSTRACT FROM AUTHOR]

The article analyzes the functioning of emblems in the text of the Baroque era and their evolution in retellings and adaptations of the Baroque text in the 19th– 21st centuries. John Bunyan’s allegorical treatise Pilgrim’s Progress, rightly called “emblematic theater” in the history of literature, is chosen as the material for the study. One of the frequent elements in the Baroque emblem is the “mountain/hill” image. As part of the emblem, the visual-verbal image “mountain/hill” is a polysemantic word. In each context, this element takes on a new meaning; its connotations can be both positive and negative. In Bunyan’s Pilgrim’s Progress, “mountain/hill” is central to several scenes. Acquiring a negative connotation, this image occurs three times in the meaning of “hell” or “entrance to hell.” In each case, the reader receives additional information that expands his knowledge of the subject. The noun “mountain/hill” acquires positive connotations in emblems with the meaning of repentance and cleansing the personages from sins. The 19th–21st centuries’ adaptations dissolve the allegorical nature of the emblem, destroy or reform its verbal envelope but preserve the emotional coloring of the episodes. The most sustainable emblem is the emblem of “repentance,” which retains its basic elements, albeit in a modified form.

This article explores the use of feminine metaphorical language in the works of Plato and Origen. Drawing from Hanne Løland’s definition of gendered metaphorical language, it examines how Plato and Origen both inherit and challenge the stereotypical use of feminine metaphorical language to advance their philosophical and theological agendas. While partially adhering to the stereotypical uses of gendered metaphorical language, both Plato and Origen navigate beyond them to conceptualize a fluid and multifaceted feminine continuum. By anchoring the analysis in Plato’s Symposium and Timaeus and in Origen’s exegetical works, the article demonstrates how both authors represent intellectual ascent and spiritual transformation through feminine metaphors. In this regard, the article suggests the possibility that Origen inherited this feminine continuum from Plato’s philosophy. Through this comparative analysis, the article contributes to a deeper understanding of feminine metaphorical language in ancient philosophy and theology, thus challenging a simplistic interpretation of gendered metaphorical language. Overall, the article underscores the complex interplay between cultural constructs, philosophical frameworks, and gender representations in the intellectual legacies of Plato and Origen.

This study outlines a typology of dystopias and narrative allegories about Communist Romania, discussing three famous novels: The Black Church by A. E. Baconsky, The Second Messenger by Bujor Nedelcovici, and Farewell, Europe! by Ion D. Sîrbu. The three novels were prohibited from being published during the Communist regime of Nicolae Ceaușescu and became drawer manuscripts, seeing the light of print only after the fall of Communism, in 1990, 1991, and 1992-1993. Baconsky’s novel circulated in samizdat (between 1976-1977) and was made into a series by the Munich-based Radio Free Europe, which broadcast clandestinely inside Romania. Nedelcovici’s novel was translated into French in 1985, and was very successful. In Romanian literature, Ion D. Sîrbu’s novel is considered the most important “drawer” work. All three novels, as dystopias, allegories and parables, focus on three recurrent topics: the world of oppressors, the world of victims and the method of brainwashing.

In this article, the authors conduct a linguistic analysis, tracing the progression of meaning, including aspects of symbolism in Dimitrie Cantemir’s fable novel The Hieroglyphical History. Regarded by most critics as the masterpiece of Moldavian prince’s literary art, it incorporates elements of the fable within a broad epic structure, which can be compared to a stratified labyrinthine novelesque edifice, being enhanced as a political satire of the era. Given the complexity of the analyzed writing, our aim is to partially decipher the levels of meaning, namely the puzzling, historiographic, allegorical-symbolic, and effective literary cores, all unified into a perfect articulate synthesis. The methodology of research implies text analysis within the integral text linguistics conceptual frame, namely identifying elements of the sense creation and evocative functions by virtue of which the novel is structured.

The article is dedicated to the study of the art criticism views of the author of the first Russian textbook for students of the Imperial Academy of Arts, diplomat and Vice‐President of the Imperial Academy of Arts, Pyotr Petrovich Chekalevsky. In his essay A Discourse on Free Arts with a Description of Some Works by Russian Artists (1792), Chekalevsky mainly relies on J.J. Winckelmann, whose republican ideas do not repel him as a Russian aristocrat of the period of Catherine II and Paul I, but even arouse his warm sympathy. Chekalevsky sees the main reasons for the extinction of the arts of different countries and peoples in the despotism of state (for example, Rome of the Caesars’ era) and in the tyrannical power of money, depriving the artist of freedom, without which, according to Chekalevsky, full‐fledged artistic creativity is impossible. The death of art, according to him, can be avoided only if new Athens appears. Chekalevsky pays particular attention to the issues of artistic form, proving that a sculptor can express the idea of his work if he finds an artistic language corresponding to this idea. Meanwhile, the language of the sculptor is different from that of the painter, and confusion of different artistic languages (forms) leads, in a certain way, to empty talk, the loss of both content and form. According to Chekalevsky, it is architecture that requires the greatest creative ingenuity. Not only does he reconsider the ideas of classical art history independently and remaster them thoughtfully, but he also expresses them in the original Russian language. Chekalevsky’s utopia of the possibility of a new arts revival based on a certain republicanism in the conditions of the Russian enlightened absolutism predetermined the most progressive trends in the activities of the Imperial Academy of Arts, and his Discourse on Free Arts... can be called the first “living word” of Russian art studies. The textbook by Chekalevsky contains brief information about outstanding Russian sculptors, painters and architects of the second half of the 18th century.

Researchers are constantly trying to develop therapeutic targets in neurodegenerative disorders like Alzheimer's dementia and Parkinson's disease. Despite enormous endeavors, there are several unmet needs. Several contradictory pathophysiological basis of neurodegenerative disorders are considered to be one of the most important cause underpinning. "Gut–brain dysbiosis" has been considered as one of the most crucial link to explore. Contemporary researches have suggested similar pathophysiological mechanisms underpinning Alzheimer's dementia and Parkinson's disease. "Gut–brain dysbiosis" may be the missing thread connecting Alzheimer's dementia and Parkinson's disease prior to the expression of their overt clinical phenotype. Recognition of preclinical phenotype of Alzheimer's dementia and Parkinson's disease have much broader perspective as it will help in building robust therapeutics at the earliest. Authors herein critically analyze the pathophysiological basis of Alzheimer's dementia and Parkinson's disease in relationship with "Gut–brain dysbiosis" and also try to search the preclinical phenotype/s of Alzheimer's dementia and Parkinson's disease pivoting around the Freudian hypothesis. [ABSTRACT FROM AUTHOR]

Medieval theologians, in the name of the principle of unanimity (unanimitas), referred in their works to the writings of the Church Fathers to give credibility to their message. An example of this are treatises explaining the liturgy allegorically, including the Liber de divinis officiis by Rupert of Deutz OSB (1075/76-1129). The author’s research goal is to indicate those places where Rupert of Deutz directly refers in his work to the writings of St. Augustine and gives them a new context in the Roman liturgy he explained. The structure of the present analysis was determined by the places of references to St. Augustine in the work of Rupert of Deutz, who made direct use of the following writings of St. Augustine: De civitate Dei, De doctrina christiana, De fide et symbolo, Enarrationes in Psalmos, Epistula 265, In Iohannis evangelium tractatus. The article uses a historical-critical method, supplemented with contextual and descriptive analysis. As a result of the analyses, it was found that Rupert of Deutz sometimes interprets the thought of St. Augustine slightly differently (e.g. the interpretation of the dimensions of the cross) or uses the arguments of the Bishop of Hippo for different theological content than in his works (e.g. explaining the octave of Easter). To sum up, the article shows the reception of the teachings of St. Augustine in the Middle Ages on the example of Liber de divinis officiis by Rupert of Deutz in relation to the explanation of the Roman liturgy [ABSTRACT FROM AUTHOR]

The article focuses on the use and representation of the symbol of Marianne, a republican allegory of freedom, in Cuba's independence wars. It highlights the influence of French republican ideas and imagery, particularly Marianne, during Cuba's struggle for independence, as seen in the portrayal of women like Candelaria Figueredo and others who embodied these symbols.

The following article examines the role of the sentidos and the entendimiento in Pedro Calderón de la Barca's auto sacramental, El cubo de la Almudena. While scholarship recognises the pervasiveness of the play on the senses in early modern Spain, scholars often either deny or overemphasise the reliability of the senses as a means of truth acquisition. Moreover, scholarship often attaches too much weight to hearing, thus neglecting the role of the eyes of the entendimiento. Based on a Thomistic framework, Calderón demonstrates that the literal element of allegory relies on the active vehicle of the senses to serve as guides for the entendimiento and an entrance into devotion. Although hearing plays a central role in the play, it serves as a herald for sight, by which the devotee exercises faith. Moreover, where the sentidos prove limited, the entendimiento is an auxiliary support that makes up for their lack, seeing beyond sensual perception through faith. In this way, the medium of the auto sacramental and the theology of the Eucharist train the audience to use the vision of faith through both the senses and the entendimiento to see the allegorical meaning of the play, the divine nature of the Eucharist provided by Mary. [ABSTRACT FROM AUTHOR]

The Sick Body Writing: Towards an Affective Genetic Criticism examines the idea that manuscripts can be affected by illness as much as their authors' bodies are. This article aims to highlight a critical gap in the methodology of literary genetic criticism by introducing a new lens of affective genetic criticism. Genetic criticism looks at the archive of drafts and notes related to a literary work-in-progress. The application of affect theory brings focus to the impacts of the author's bodily experience during writing while in different states of un/healthiness. The effects of authors' health on their writing, especially textual non/production and the representations of un/healthiness, can be found in their archive in a variety of forms, whether represented in the narrative or responsible for elements of the narrative's structure. Using two case studies from different literary canons, James Joyce (modernist) and Aidan Chambers (children's and Young Adult), the article concludes that this lens can be productively applied to understand better the embodiment of writing processes and adaptations of writing environments as a result of affective needs. [ABSTRACT FROM AUTHOR]

Copyright of Aufklärung: Revista de Filosofia is the property of Aufklarung: Revista de Filosofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article analyzes Teju Cole's Open City as a political novel, arguing that Open City functions as a national allegory critical of the United States. This stance is facilitated by its portrayal of the protagonist Julius as suffering not a dissociative fugue but a dissociative amnesia, which I arrive at by using the American Psychiatric Association's Diagnostic and Statistical Manual (DSM) V and a rereading of Ian Hacking to revise prior interpretations of Julius as flâneur-fugueur. Drawing on the work of Fredric Jameson, I read Julius's amnesia-like repression of his past crimes as allegorical of his adopted nation, the USA, which tends to forget its responsibility for its own historical injustices. By selectively forgetting these injustices and traumas--even as they happen--the USA behaves with the same dissociative amnesia as Julius. Open City reflects the psychopathology of the USA on the scale of the individual and the city. Within the palimpsests of history scattered materially throughout Manhattan (and within the repressed memories of society and the individual) resides the location of national allegory in Open City. [ABSTRACT FROM AUTHOR]

The prose of Islamic mystical meetings in the fifth century has characteristics that distinguish it from other literary prose. Features that can be investigated in both verbal and spiritual fields. Since most of the audience of mystical gatherings were from the middle class and the common people, the need to use some rhetorical categories such as allegory, simile, symmetry, personification, and use of ironic compounds is inevitable. Meanwhile, some imagery techniques have a special place and importance in mystical works. In this article, an attempt has been made to explain and examine the rhetorical elements in the prose of the mystical preaching of the fifth century and to mention the importance of using them in the path of teaching mystical concepts, by bringing examples from prose books in the field of mystical preaching, and to discuss and examine how the Sheikhs benefit from these techniques.Keywords: Sufism, Allegory, Imagery Techniques, Mysticism, Preaching. IntroductionPreaching is one of the important methods of propaganda and education in Islamic civilization, which in turn has caused great intellectual and cultural changes in the social and political history of human civilizations. Meanwhile, mysticism is one of the important and influential intellectual currents that benefited from this method. Some of the great mystics of the fifth century, such as Ahmad Ghazali, Sheikh Abu Saeed Abi al-Khair, Ain al-Qazat Hamedani, Khajeh Abdollah Ansari, and Abul Hassan Kharaqani, using the verbal, spiritual, and structural style of preaching and rhetorical elements such as allegory, simile, symmetry, personification, and ironic combinations, in addition to succeeding in understanding mystical content to the audience, authored admirable works worthy of reflection. Examining these works and their rhetorical elements and the way they are used in mystical preaching is the research topic of this article. Literature ReviewAs we know, mystical experiences are usually related to extrasensory matters and outside the common experiences of common people. Therefore, the efforts of the mystics and in fact the whole art of the narrators of these experiences have been to express intangible things concretely, and in this way, they have made ample use of the devices of Persian literature such as various forms of imagination. In this research, the purpose of the researcher is to show how the preaching Sheikhs use these literary devices, especially allegory, in expressing abstract mystical themes and making them as concrete as possible for the understanding of their general audience. Before this research, some studies that can be considered related to this research in some ways, including the article Preaching and Its Methods Based on Rumi’s Majālis-e Sab’i (Seven Meetings) (1387) written by Mohammad Gholamrezaei, The Styles of Expression and Technique of Preaching in Rumi’s Prose. (Relying on Fihi Ma Fihi) (2012) authored by Bahman Nozhat, The evolution process of Majalis Goyie as a kind of didactic literature from the beginning to the end of Safavi dynasty (2013) written by Abbas Ali Vafaei, An Analysis of Anushirvan's Haft Bazm in Shahnameh as an Example of Majles-guee in Pre-Islam Iran (2014) written by Fatemeh Gholami, the article Comparison of Mubakiyat and Sab'a Majlis according to the structure of Majlis-guee (2017) written by Mansoureh Farahzadi. MethodologyThis research, using the method of content analysis, examines the Majlis of Ahmad Ghazali, Tamhidat by Ain al-Qadat Hamedani, Asrar al-Tawheed fi Maqamat Sheikh Abu Saeedabi Al-Khair, the collection of al-Soufieh treatises and Tabaqat of Khaja Abdullah Ansari and Noor al-Alam Abul Hassan Kharaqani, and seeks answers to these questions:1- What methods did the great sages of mysticism use in explaining the abstract concepts of mysticism to the audience?2- What are the main forms of imagination used in the speeches of mystics with the aim of teaching mystical concepts?3- Which forms of imagination have been used the most by mystics in preaching? ConclusionIn general, the mystics of the 5th century used beautiful allegorical stories in their preaching to better understand the mystical and moral points, each of which contained appropriate points for the benefit of the common people. In the meantime, the use of allegory as one of the forms of imagination is more than other forms and the reason for this is the movement and dynamism that allegory creates in words and makes the mind psychologically receptive to the content. Since the audience of the mystics was often among the common and average people, the allegory was a suitable substitute for the heavy philosophical and mystical rational arguments. Ain al-Qadat's allegories in Tamhidat and Nameh-ha are often logical and short; in such a way that in terms of appearance, he finds a similarity between two things and therefore compares the current state of one to the other. But the allegory in Abu Sa'id Abi al-Khair's preaching is more of a narrative type; that is, in order to express a moral and mystical theme, the Sheikh often presents a narrative and an anecdote, and after finishing it, he makes his moral conclusion. In Tabaqat al-Sufiyyah, Khaja Abdullah Ansari uses two types of allegories to explain mystical teachings: sometimes he uses short allegorical similes and sometimes he tells an allegorical story under his mystical teachings. The allegories of Ahmad Ghazali's preaching are more of a type of simile and short additions. Interpretations such as the seed of remembrance (Daneh Zekr), Bagh Sineh, the trap of truthfulness (Dam-e Sedq), and the eagle of the heart (Oqab Qalb) refer to this issue, although during the preaching, he sometimes uses reality-based allegories that are about the lives of real people such as prophets. In the words of Abulhasan Kharaqani, which is taken from his preaching, the use of simile is not as frequent as in other mystics’ Preachings. The use of other forms of imagination such as symmetry, personification, and ironic combinations also has more or less the same frequency in the mystical meetings of the 5th century.

During the COVID-19 pandemic, while some countries succeeded in reducing their rate of death after SARS-CoV-2 infection via vaccination by the end of 2021, some of them also faced hospital capacity strain, leading to social anxiety about delays in the diagnosis and treatment of patients with other diseases. This essay presents an allegory to explain the situation during the COVID-19 pandemic. Through an allegory and Le Morte d'Arthur (Arthur's Death), this essay indicates that "the scabbard of Excalibur" that we are looking for is an efficient and effective healthcare system that can diagnose patients who might become severely ill due to COVID-19 and to treat them without hospital capacity strain. In Le Morte d'Arthur, the scabbard of Excalibur was lost, and we have not been able to find any alternatives to end the COVID-19 pandemic. We can choose a future in which "the scabbard of Excalibur" exists, providing a different ending for the next pandemic. [ABSTRACT FROM AUTHOR]

Copyright of MATRIZes is the property of Universidade de Sao Paulo, Programa de Pos Graduacao em Ciencias da Comunicacao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article summarises and analyses images that appeared in Riga’s architectural decor in the first decade of the 20th century, which reflect ideas of progress and social struggle in an allegorical way. Already since the end of the 19th century, the theme of progress in Riga’s architecture has mostly been represented by the symbol of the Sun reflected in two ways – both as a regular image of the Sun and as an image of the ancient god Helios/ Apollo. During this period, these symbols became habitual elements of architectural decor. At the same time, original attempts to express ideas of progress also appeared, such as the image of Artemis/Selene carrying light on 2a Alberta Street and the allegorical image of renewed humanity on a relief on 54 Miera Street. Meanwhile, the theme of struggle was particularly pronounced in two sculptures on 4 Tirgoņu Street and three reliefs dedicated to the Prometheus story on 18 Marijas Street. It can be concluded that ideas of progress and revolutionary struggle were expressively depicted in Riga’s architectural decor, which can be considered a reflection of the public sentiments of that time. [ABSTRACT FROM AUTHOR]

The dove, the most frequently mentioned bird in the Hebrew Bible, appears in diverse contexts, spanning its appearance as an element in the narrative (as in the case of Noah's ark), and as an allegory and metaphor (as in the cryptic "sword of the dove"—twice in Jeremiah—and "the city of the dove"—Zephaniah). The dove even appears as the proper name of a prophet (or possibly of two, both named Jonah, son of Amittai). This article applies a communication perspective to better interpret some of these texts. We argue that the dove's communicative attributes, to include unique acoustics, remarkable power of flight, but primarily the trait of returning home—the basis for the use of doves as carrier pigeons—may either explain or deepen the interpretation of many of the references to the pigeon in the Bible. In this vein, a major focus of the article is on using the dove's homing ability as a key for reinterpreting the Book of Jonah. We conclude by suggesting that the dove's trait of returning and, hence, its use as envoy made it a useful symbol of the deity's presence in the world. In the Jewish reading, it became an emblem of one of the main political and eschatological themes of the Bible: the return home from exile, beginning with the exodus and return of Jacob's sons to Canaan and ending with the Eschaton. [ABSTRACT FROM AUTHOR]

In this research article we conduct an analysis of Sita: Warrior of Mithila. This book presents how Sita was playing a leading role in Ram’s life. Eventually Sita transforms herself into a warrior princess. Many mythical elements are presented in Tripathi’s novel, and the author presents the story with his own creative interpretation. Tripathi is trying to analyse Sita’s character with the depiction of the kingdom of Mithila, exploring the epic battle, quest, and the investigation of themes such as destiny and sense of duty. All the way through this assessment, the paper aims to draw attention to how Tripathi's plot breathes new life hooked on conventional mythology, offers readers a unmarked viewpoint on ageless themes and narratives. In analyzing the work of fiction for mythological essentials, we make out how Tripathi blends antique mythology with logical interpretation. [ABSTRACT FROM AUTHOR]

Copyright of Wielogłos is the property of Jagiellonian University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Gregory's Homily 12 on the Song of Songs offers one opportunity to trace the legacies of the compelling claim, in Galatians 6:17, that Paul bears "the marks of Christ" on his body. Gregory appeals to this verse to aid his exegesis of Song 5:7 (a violent passage he calls "repellant in its plain sense") and develop his claims that "the wound", after all, is "an admirable thing". My paper probes social and ethical dimensions of this exegetical and cultural conceptual lineage. It surveys wounds and marks in Homily 12; suggests how other works by Gregory support "striking and wounding" as enacting spiritual healing (ἴασιν); considers contexts for violence in the name of guardianship and instruction in late antiquity; and closes by considering violence enacted in the name of Christianization and "civilization" in Canada's residential schools. This study embeds Gregory's treatment of Gal 6:17 in a larger attempt to raise critical questions about the persistence of benevolent understandings of trauma and violence across diverse Christian exegetical contexts and the harms such understandings may perpetuate. [ABSTRACT FROM AUTHOR]

Researchers' attention has been drawn to parallels between Homer's Odyssey and the Epic of Gilgamesh. However, hitherto, no connections have been observed between Kazantzakis's Sequel and the Mesopotamian work. Convergent are the primary motivations and actions undertaken by the protagonists of both poems, particularly their "peregrinations" to the boundaries of the world, dictated by eschatological anxieties. Moreover, the hero of Kazantzakis's Sequel undergoes a transformation analogous to the legendary ruler of Uruk: under the influence of concerns, the proud kings opt for solitary wanderings, which results in better self-understanding and higher axiological awareness. The comparison of symbols, such as the sun, fire, lightning, the Water of Life and Death, and theriomorphic allegories, indicates Kazantzakis's utilization of numerous intermediary sources stemming from the ancient Near Eastern tradition. An additional aim of the article is to indicate interpretative possibilities of books describing the wanderings of the Odyssean spirit after abandoning the project of building the "ideal city," as versions of ars moriendi: the art of overcoming the fear of death. [ABSTRACT FROM AUTHOR]

Gregory’s Homily 12 on the Song of Songs offers one opportunity to trace the legacies of the compelling claim, in Galatians 6:17, that Paul bears “the marks of Christ” on his body. Gregory appeals to this verse to aid his exegesis of Song 5:7 (a violent passage he calls “repellant in its plain sense”) and develop his claims that “the wound”, after all, is “an admirable thing”. My paper probes social and ethical dimensions of this exegetical and cultural conceptual lineage. It surveys wounds and marks in Homily 12; suggests how other works by Gregory support “striking and wounding” as enacting spiritual healing (ἴασιν); considers contexts for violence in the name of guardianship and instruction in late antiquity; and closes by considering violence enacted in the name of Christianization and “civilization” in Canada’s residential schools. This study embeds Gregory’s treatment of Gal 6:17 in a larger attempt to raise critical questions about the persistence of benevolent understandings of trauma and violence across diverse Christian exegetical contexts and the harms such understandings may perpetuate.

This article analyzes the complete corpus of live-action X-Men movies for their depictions of genetics and otherness. The researchers watched and qualitatively coded all thirteen movies produced by 20th Century Fox that take place in the same shared cinematic universe, beginning with X-Men (2000) and ending with The New Mutants (2020). The X-Men movies are unusual summer blockbusters since they explore genetic topics through their central characters, mutants, who are genetically different from their non-mutant peers. Mutants in the films evoke a plurality of analogies, such as mutant-as-Black and mutant-as-queer. These intersecting metaphors build upon a core of genetic difference to create a versatile but limited picture of prejudice, solidarity, and otherness. [ABSTRACT FROM AUTHOR]

This article studies a short story by Alejo Carpentier, 'El milagro del ascensor (Cuento para un apéndice a la 'Leyenda Áurea')', as a way to discuss multiple elements which would come to be foundational of the latter marvelous realism in the new Latin American narrative. Among them, we find a rewriting, under modern irony, of a baroque discourse, besides a resignified use of the allegory as a mean of expression, and also a dialectic between the local and the foreign that is synthesized through the project of a mestizo cultural identity and a marvelous based on the ubiquity of a syncretic Christianity formalized in a literary aesthetic -- characteristics that have an effect on the verbal expression of time and space in the narration, as well as on the relation between narrator's and character's discourse, conceived as actively responsive. We are helped by Carpentier's own definition of marvelous real, created in 1949, Walter Benjamin's discussions on allegory and Bakhtin's definitions of modern irony and the cultural value of the foreign language; those theoretical definitions are then mediated by further studies on Latin American literatures that identify in them the prevalence of a baroque and allegorical discourse (Doris Sommer, Luis Ernesto Lasso and Irlemar Chiampi). [ABSTRACT FROM AUTHOR]

Objective: The comparative system has always been used in literature and religion, both at the level of words and at the level of meaning, in order to teach with oratory and other tools. The frequency of such a structure in education-based literature is drawn to the audience in the context of persuasion, warning, encouragement, warning and evangelism. In Persian literature, mysticism is one of the important platforms for the use of this language tool. Sheikh Shahab-al-Din Suhrevardi (549- 587 AH), in the treatise on the vocabulary of Moran, mystical thoughts and what the seeker needs in the course of mysticism, using the tool of contrast and also in the literary form of fable. And the parable is explained. Ants, turtle, nightingale, jinn, human, bat, chameleon, hooded, canvas and peacock are the most important actors of these traditions. The expressive tool used in this work is debate and conversation. This research has analyzed the connection of active and non-active elements with the content after examining the 12-fold structure of Moran's vocabulary narrative with analytical-descriptive method. The result of the work shows that although there is no structural link between the twelve narratives presented in the treatise, there is a thematic link and content connection between these structures. The relationship between human potential and perfection in the form of the allegory of the sun and the moon is the subject of Sheikh Eshraq's focus in this treatise, which has been objectified in the rhetorical and not the narrative structure of twelve narrations. [ABSTRACT FROM AUTHOR]

This study outlines a typology of dystopias and narrative allegories about Communist Romania, discussing three famous novels: The Black Church by A. E. Baconsky, The Second Messenger by Bujor Nedelcovici, and Farewell, Europe! by Ion D. Sîrbu. The three novels were prohibited from being published during the Communist regime of Nicolae Ceaușescu and became drawer manuscripts, seeing the light of print only after the fall of Communism, in 1990, 1991, and 1992-1993. Baconsky's novel circulated in samizdat (between 1976-1977) and was made into a series by the Munich-based Radio Free Europe, which broadcast clandestinely inside Romania. Nedelcovici's novel was translated into French in 1985, and was very successful. In Romanian literature, Ion D. Sîrbu's novel is considered the most important "drawer" work. All three novels, as dystopias, allegories and parables, focus on three recurrent topics: the world of oppressors, the world of victims and the method of brainwashing. [ABSTRACT FROM AUTHOR]