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In this article I analyze ‘Kirstens sidste Rejse’ [Kirsten’s Last Journey], one of Johannes V. Jensen’s stories from Himmerland, drawing on both the original version of the text published in 1901, and the version included in 1904 in Nye Himmerlandshistorier [New Stories from Himmerland]. At first sight, the story is realistic account of two men transporting a coffin with the corpse of an old woman from Aalborg to her home village in Himmerland where she is to be buried, and the violent snowstorm in which they are caught on the way. By the time they finally reach their destination, Christen Sørensen, who has been driving the horse-drawn carriage, has undergone a profound change. Earlier a silent person, he now recounts endlessly, with the same mechanical voice, the journey with the dead woman. In this article, I offer a reading of the story from the perspective of Maurice Blanchot’s literary theory, arguing that Johannes V. Jensen’s text can be read as an allegory of the becoming of the literary narration and its relation to the experience of death and nothingness.

'Truth and the transunto' investigates the use of a hand-painted copy of the Holy Shroud which found its way to Bologna in the late sixteenth century. Used by the archbishop of Bologna, Alfonso Paleotti (1531-1610), this copy was the source of observations of the body of Christ, in the manner of an autopsy and is presented in Paleotti's book Esplicatione del Lenzuolo [...]. Early modern copies of the Holy Shroud are not however accurate copies, but present seemingly simplified replicas of the original. This article explores how such information, and indeed, level of trust, can come from these copies, which, to the modern eye, seem fallible. Previous studies have excused the strange appearance of these Shroud copies by considering them solely devotional instruments yet as the article shows, Paleotti's use of such an object shows that the copies might be better understood in the context of early modern natural historical studies and illustrations. The article draws on scholarship which discusses the emerging interest for visual evidence in early scientific practice and shows how certain types of images and image-making practices were able to evoke the idea of presence and clarify the indecipherable. Demonstrating that Paleotti's copy of the Holy Shroud was not just a religious tool, but also an epistemic image, this article shows how Paleotti's use of the term 'transunto' could be used as a valuable tool in gaining a more nuanced understanding of the concept 'copy' in Early Modern Europe. On cover:ANNIBALE CARRACCI (BOLOGNA 1560 - ROME 1609), An Allegory of Truth and Time c. 1584-1585.Oil on canvas | 130,0 x 169,6 cm. (support, canvas/panel/str external) | RCIN 404770Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.

This essay focuses on the 16th -century Bolognese naturalist and collector Ulisse Aldrovandi (1522-1605) and his enormous image collection of naturalia. Do these images present a specifically Bolognese form of visual natural science, and was his visual format of truthfulness new at the time? Did Local visual culture leave clear marks on Aldrovandi's image collection? On cover:ANNIBALE CARRACCI (BOLOGNA 1560 - ROME 1609), An Allegory of Truth and Time c. 1584-1585.Oil on canvas | 130,0 x 169,6 cm. (support, canvas/panel/str external) | RCIN 404770Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.

Academic research on newly discovered ancient Buddhist manuscripts is largely based on objects that come from the antiquities market and to a much lesser degree on objects coming from documented and controlled archaeological excavations. Despite their being unprovenanced, collectors and scholars often present such objects with narratives mimicking provenance. The use of the label "Dead Sea Scrolls" attached to archaeological material without connections to Judaism or early Christianity is a prevalent example of this scholarly praxis. In this article, we deconstruct provenance narratives associated with the undocumented Buddhist manuscripts in the Schøyen Collection and discuss their implications for research on these manuscripts and beyond. On cover:ANNIBALE CARRACCI (BOLOGNA 1560 - ROME 1609), An Allegory of Truth and Time c. 1584-1585.Oil on canvas | 130,0 x 169,6 cm. (support, canvas/panel/str external) | RCIN 404770Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.

This article is a close reading of The Worshiper of the Image (1898), a tragic fairytale by Richard Le Gallienne — a symbolist allegory, whose female character is a coming-to-life visual image. This character is distinguished by polymorphism which manifests itself both in the story’s plot and in the character’s mythical autobiography, namely, in her reincarnations over centuries. The visual hypostasis of this character is L’Inconnue de la Seine — a popular and mysterious kitsch object, the mask of a girl who allegedly drowned in Seine in the second half of the 19th century. The interaction of the Image with other characters is determined by the concept of contagion, i.e., immediate power contact which alternates with abstract allegorical interpretations of the Image (considered, for example, as the embodiment of Art or Beauty); in the course of the narrative, the contagious image gradually displaces the story’s living characters, including the wife of the main character who uncannily resembles and doubles the image. These narrative and visual collisions reflect a precarious position of the visual image in the decadent culture — a conflict between the visual image and narration: the narration fails to provide an exhaustive ekphrastic description of the image and evasively multiplies contradictory impressions of other characters about it instead.

This article aims at elaborating the issues of trauma, violence against women and their agencies depicted in Indonesianfilm entitled 27 Steps of May. By situating the issues within the theoretical framework combining theories on allegoryand metaphor as elaborated by Jameson (2006), and Jakobson (1956), as well as theoretical premises pertaining to filmtechnology by Turner (2002), this study shows how film as a form of narrative texts can visualize those issues throughavailable technological features (camera techniques and mise-en-scene). Our close reading finds that the film presentsmetaphors of rape, women agency, amnesia and trauma through the presentation of the characters (May, Bapak, Pesulapand Kurir), also the mise-en-scene in its scenes. We argue that this film visualizes an allegory of national trauma inrelation to Indonesian May 1998 riots, specifically the violence towards marginalized groups (Chinese and women),which also represents the Indonesian collective expectation in acknowledging the national trauma jointly.

The purpose of the article is to systematize and provide the art analysis of the monumental works by Ukrainian-Polish artist Wilhelm Kotarbinski from the collection of the Khanenko Museum. The main target is to put into scientific circulation four friezes and two compositions for desudeports of the Khanenko Museum, to describe the compositions and to perform their attributive analysis. The methodology of the article is to apply general scientific and particular approaches and methods of research of the given theme, that allow to outline the time frame of creation of paintings, attribute individual plots, and find compositional prototypes. Involves the use of complex and analytical methods in systematizing and generalizing theoretical material, as well as methods of morphological, compositional, artistic, stylistic, and complex analysis when working with illustrative material. The scientific novelty of the work consists lies in an in-depth art analysis and dating of the monumental works of Wilhelm Kotarbinski from the collection of the Khanenko Museum. The specifics of the artist's artistic method on the example of his works for the Red antechamber of the Khanenko Museum are considered. The information set out in the article indicates the time frame for the creation of the entire decoration of the museum. The monumental decorative ensemble of the Red Antechamber is a striking example of the interior of "historicism", and in this context has not been considered in detail. The analysis of Kotabrinsky's compositions, their scientific attribution, the found prototypes of separate images reveals a method of work of the artist and tendencies of an epoch in fine and decorative art. Penetration into the artistic image of Kotarbinsky in the context of the era of historicism and the artistic life of the city of Kyiv brings complexity and depth to the work. Conclusions. The article summarizes the world and Ukrainian scientific experience of studying the artistic heritage by Wilhelm Kotarbinski. The following attributions have been introduced into scientific circulation: the time frame for creating the original decorative decoration of the Red Antechamber of the Khanenko Museum has been determined, iconographic prototypes for Wilhelm Kotarbinskie's frieze "Allegory of Ancient Egypt", "Allegory of the Orient Countries" have been found.

O texto analisa a obra fílmica Paisagem na neblina (1988), de Theo Angelopoulos. A leitura está dividida em quatro momentos: o primeiro é consagrado à leitura da Odisseia, mais especificamente, à “Telemaquia”, pois os quatro primeiros cantos desta epopeia, supostamente, inauguram um lócus na literatura ocidental: a viagem em busca do pai, que ecoa fortemente na narrativa fílmica de Angelopoulos. Em seguida, visitamos os conceitos de Vaterland (pátria) e Heimat (terra natal) a fim de explorarmos a relação entre a origem genealógica e a identidade de Telêmaco. No terceiro momento, desenvolvemos o conceito de alegoria, segundo Walter Benjamin (2013), o qual fundamenta nossa interpretação. Por fim, propomos nossa leitura do filme, amparada pelos comentários precisos de David Bordwell (2008) e Andrew Horton (1997). Com isso, objetivamos mostrar como a identidade do homem moderno ligada à pátria ou à terra natal não é assim mais tão clara para a filosofia, como era na Odisseia, e nem para o “cinema do pós-guerra”, nas palavras de Bordwell (2008), ambos tencionam a relação entre origem genealógica, enraizamento, pátria e identidade.

Teatro como alegoria é um sistema pedagógico e de encenação que se insere entre as tendências contemporâneas da Pedagogia das Artes Cênicas. Seu foco está na relação entre o fazer e apreciar a obra de arte. A alegorização da cena destaca o texto e/ou a imagem, ao abrir espaço de jogo para o imaginário do leitor/atuante ou espectador.

Madness and laughter in art’s destructive humorous expression encompass extraordinary, extreme, exorbitant, abnormal, satirical and alegorical representations, from Renaissance till today. In virtue of this purpose it’s seen that humor image lies outside the context of madness and the mad, sickness and the sick. The former is conveyed via allegorical and satirical forms that tells the truth. Laughter, on the other hand, is presented as pejorative properties that boasts over the faults and flaws of human rather than being a reaction against mere comedy. These two aformentioned elements have been contrarian satirical statements in artistic context, and communicated with debasing, critical descriptions revealing the vandal human mind. Therefore the resulting mockery both rejects and defames its subject. Such tokens of strong critique are observed to be in close relation with folklore and transform into impressive languages of allegory in the art sphere. The projection of madness and laughter images in art works, more clearly when the archive of the language they use is considered alongside satire, is both the harshest manifestation of human darkness in cosmic scale and the essence of the deeper roots of her inner journey, a historical perspective of civilization. The aforementioned factors that compose an insistent language from repetitive forms against the hierarchy of flaws endemic to human and her societies are statements strongly emphasizing the tragic aspect in persistent terms. In this vein the research will lean towards consciousness’ representations speaking of the essence, beyond the semantics of madness, the mad and her laughter. Together with the discussion detailed so far madness and laugther metaphors’ jagged comedic meanings and associated concepts will be explained. The scope of the methodology will be limited to the evaluation of madness’, the mad’s and (her) laugther’s destructive satirial perspectives and their evolution through time down from Renaissance, within the scope of related art and philosophy literature, including references to key art works when relevant.

İslami ilimlerin klasik döneminde farklı kültürlerden etkilendiğine dair iddialar söz konusudur. Bu iddialarda temel amaç, İslami ilimlerin gelişim döneminde orijinallikten yoksun olduğunu kanıtlamaktır. Buna karşı İslam düşüncesini savunanlar gelişim döneminde her ne kadar ufak tefek etkileşimler olsa bile İslami ilimlerin kendi iç dinamikleri üzerinden gelişimlerini sürdürdüğünü iddia etmektedirler. Bu tartışmayı somut veriler üzerinden neticeye bağlamak üzere İskenderiye Okuluna bakılabilir. İskenderiye Okulu, tarihsel olarak İslami ilimlerin teşekkül döneminden önce varlığını büyük oranda kaybetmiştir. Bununla birlikte, İskenderiye Okulunda temsil edilen düşünce ve kültürel birikim, farklı şekillerde etkisini sürdürmüştür. Bu çalışma, bir taraftan İslami ilimlerin farklı bir kültürel çevreden ne oranda etkilenmiş olabileceğini İskenderiye Okulu örneğinden hareketle ortaya koymayı hedeflerken, diğer taraftan İskenderiye Okulunun bu etkiyi hangi araçlarla oluşturduğunu analiz etmeyi amaçlamaktadır.

In the current context of rapid advance of the conservative forces and the progressive deterioration of the democratic bases that underlie the Brazilian State, it is of the utmost importance to revisit two major works. They are the critical reinterpretation of “The artist of hunger”, a story from the last composing era of Franz Kafka (1883 - 1924), and the Essay “The Right to Literature”, seminal text by Antonio Candido. When we understand the craft of fasting as an allegory of artistic making and from the artist's truth, who does not succumb to the culture and entertainment industry, the resistance assumed by this “starving artist” illustrates the anguish that affects the modern man, immersed in the contradictions between technological progress and social exclusion. Such narrative is also in line with the episode of censorship of the exhibition “Queermuseu - Cartography of Difference in Latin America”, due to attacks by religious and conservative groups, shut down by Santander Cultural in 2017, in Porto Alegre, Rio Grande do Sul. In addition to addressing the formal innovations - in the Kafkaesque narrative in the pictorial expression of the painting “Cruzando Jesus com o Deus Shiva”, by Fernando Baril, from the afore mentioned exhibition -, we show how art and literature set up powerful and humanizing instruments of education and instruction, in addition to the critical apprehension of reality and political engagement. Keywords: Franz Kafka. Queermuseum. Antonio Candido. Art. Resistance.

Since the very beginning of its proliferation, the Homeric epic has been subject to various ways of interpretation and modes of understanding. Particular attention has been paid to those passages from Homeric poems in which the gods commit obscene, absurd, or comical actions. In the opinion of critics of Iliad and Odyssey, such myths were not worthy of the appropriate faith in the Greek gods. Therefore, my article focuses on the third, “comical” group of these Homeric grey areas, and deals with the following questions: how and why did Homer’s comical passages move from a discourse of the ridiculous and the funny to a discourse of the serious by means of philosophical interpretation over the centuries? I will try to uncover the general principles and conditions of that hermeneutical mechanism which made it possible to translate Homer’s comical plots from the language of Olympic “domestic” nonsense into the language of the most important physical, ethical, and metaphysical truths. To achieve this task, my article will conditionally distinguish two ways of transition from the comical to the serious: the first, which was carried out in ancient allegorism, was to directly produce a translation, and to declare that the “superficial” meaning of the myth is false, and its deep level is true. The second way – ancient symbolism – was to turn the comical into the serious through the immediate translation of comical myths into the religious discourse of the sacred, which did not imply a stark contrast between the comical and the serious but, on the contrary, harmonized them.

This paper investigates the physical and metaphorical meanings of nausea in Michel Houellebecq’s The Possibility of an Island. Through the trope of cloning, Houellebecq likens the human body to a ship, and conflates existential nausea with nausea caused by inhabiting a body. The future clones of the narrator Daniel inhabit a world of ‘neohumans’ that are clones like themselves, and old-style, barbaric humans. Neohumans change their bodies through cloning, which after a while give them ship-sickness, or nausea. Daniel’s nausea is shaped by his relationship with the Mediterranean throughout. The novel asks the question ‘What happens to human consciousness when the body keeps changing and the white male body is propagated into the future?’ Thus, the novel works as an allegory for the way the Mediterranean functions today both as a curative and lethal space for European endeavor.

If ever a literary genre were made for consumer research, that literary genre is allegory. The word comes from the Ancient Greek allegoreo, meaning to speak of the other in the marketplace. Buildin...

Referring to the British writers’ prompt reaction to the Brexit crisis, in developing what has already come to be known as BrexLit, Robert Eaglestone remarks the “cultural and emotional landscapes” created by such literary responses, which attempt to “humanize” major political dilemmas. Ali Smith, commenting on the same speed of writing books “pressed against the contemporaneous,” considers this as the result of history repeating itself with us failing to be aware of it, evidence of what we might call a community of unreliable remembers. The paper focuses on Ian McEwan’s 2019 The Cockroach, a novella offering a reversed Kafkaesque metamorphosis, a pretext to satirize Brexit and to meditate on how the antiheroic character caught in this allegorical transformation devolves from subject into object. I argue that this process of objectification (using Martha Nussbaum’s concept, derived from, but not limited to the feminist critique) contributes to the disembodiment and further relativization of memory.

En el período que nos ocupa —desde 2010 hasta la actuali-dad— caracterizado como una época de crisis que todavía no ha aca-bado, debemos reflexionar sobre cómo se involucra el teatro en la crisis y actúa en paralelo, al emitir juicios, plantear preguntas y mantener un diálogo con la sociedad. El presente ensayo analiza tres creaciones tea-trales que presentan su trabajo en la escena griega y europea y que han obtenido un notable éxito. La elección del dúo de directores Azás -Tsini-coris, el grupo Station Athens de Marcopulu y el grupo Blitz, respondió a dos consideraciones: por un lado, su temática, que expone puntos co-munes como la emigración, la xenofobia, la violencia y la melancolía pro-vocada por la resistencia a un mundo cruel, y, por otro lado, sus textos, que proceden de la ficción y el documental, y que son fruto de la labor común de todo el grupo. La intertextualidad, la alegoría y el realismo del formato como documento, componen representaciones vertebradas, road movies sin desplazamiento, relatos tragicómicos de la violencia de los siglos XX y XXI, versiones de canciones con guiños bien reconocibles a la coyuntura de crisis actual. Actores amateurs y profesionales, inmi-grantes, ciudadanos de la calle, directores que cuentan con la tecnología como coprotagonista, transforman experiencias e ideas en un fecundo género metateatral.

O presente estudo visa buscar uma base filosófica hegeliana, explorada na obra Fenomenologia do Espírito, quanto à consciência-de-si e sua gênese, a fim de contextualizar uma estruturação que conceba a consciência não erigida em bases solipsistas, mas sim como um construto social, apreendendo a estrutura da alteridade em seu núcleo mais íntimo, num embate entre forças antagônicas que clamam para si reconhecimento, na forma da alegoria Senhor-Escravo. A partir dessa base, procuro exemplificar empiricamente como se instaura tal dinâmica, para em seguida abordar a esquizofrenia, em especial sob a perspectiva do autor Bin Kimura, que compreende a clínica esquizofrênica de forma muito semelhante, com base em tal embate de forças, que se processaria de forma não integrativa. Tento, então, iluminar a clínica esquizofrênica deste autor à luz de uma chave de leitura próxima ao pensamento hegeliano, traçando possíveis pontos de convergência e divergência quanto as suas perspectivas.

Is it possible for a dead woman to retain her subjectivity within a story narrated by a man who mourns her? Or is she doomed to become nourishment for a literary display of male ego? As argued by Juliana Schiesari in The Gendering of Melancholia, the canon of melancholy is populated by men of letters whose elevation depends on devaluing female experience of loss. This paper applies the neobaroque framework to the analysis of Jeffrey Eugenides’ The Virgin Suicides and reads the novel as an allegorical investigation of the relation between male melancholy and femininity. The article argues that the novel, while remaining rooted in the canon of Western melancholy, reveals the contradiction within the melancholy discourse. On the one hand, the narrator seems devoted to uncovering the reason behind the Lisbon girls’ suicides; on the other, his investigation is conditioned upon the impossibility of closure. In his obsessive accumulation of signs that promise to solve the mystery, the narrator allows for the only relevant testimony to remain unexamined, hidden in plain sight within the narrator's narrative excess. Cecilia's unedited confession provides a glimpse of the female self which must remain an enigma that propels the narrator's overproduction of meaning.

This article embarks from George Lakoff and Mark Johnson’s embodied understanding of metaphor in linguistic contexts and proceeds beyond merely an extended notion of “visual” metaphor toward an operational understanding of the term “allegory” in the cinematic context. Specifically, a pattern of Sisyphean landscape allegory in a global array of postwar narrative cinema is identified and explored, in which a psychologically conflicted protagonist struggles against a resistant natural landscape, connoting varying degrees of existential “futility.” The recurrent experiential configuration of this modernist allegory on screen, especially in terms of its haptic dimensions, is explored for its ability to “invoke” social critique—as felt, visceral content.

EnglishWith growing tendency Goethe’s lyric cycle »Sonette« has been interpreted as a precursor of modern poetics, based on aspects of discontinuity and the prevalence of allegory as characteristics of Goethe’s »Spatwerk«. The cycle’s reference to Petrarch does not figure prominently in these interpretative contexts. A close reading of the cycle, however, shows that the sonnets are interwoven internally while focusing on the epistemic core of Petrarch’s lyric discourse, aiming at transforming it by means of a poetics of the symbol and thus contributing in a critical fashion to the romantic revival of the form of the sonnet as well as of Petrarch. DeutschDie wissenschaftliche Rezeption hat Goethes Gedichtzyklus »Sonette« mit fortschreitender Tendenz einer modernen Poetik der Diskontinuitat zugeordnet und eine Hinwendung zur Allegorie postuliert, die charakteristisch fur Goethes Spatwerk sei. Der Petrarca-Bezug des Zyklus ist in diesem Rahmen nur ansatzweise in den Blick genommen worden. Eine detaillierte Lekture kann jedoch nachweisen, dass die Sonette in enger interner Verschrankung auf die epistemische Rahmung von Petrarcas lyrischem Diskurs Bezug nehmen, diese mit den Mitteln einer Symbolpoetik verwandeln und sich der romantischen Sonett- und Petrarca-Verehrung kritisch zur Seite stellen.

Este artigo, tal qual um palimpsesto, retoma e adiciona apontamentos e reflexões acerca da questão do espaço e da alegoria, presentes no modelo espetácular denominado (a época) Teatro de Figuras de Figuras Alegóricas, proposto por Ingrid Koudela, realizado a partir de um conjunto de encenações, entre 2006 e 2008, com alunos do curso de licenciatura em teatro da Universidade de Sorocaba. Palavras-chaveEspaço Teatral. Pedagogia das Artes Cênicas. Alegoria.

Na pintura Children´s Plays (Pieter Bruegel, The Elder / 1525-1569) o artista renascentista fez o inventário de oitenta jogos. Este é um modelo da maior grandeza, ancorado que está na ancestralidade. A alegoria, tanto em suas manifestações iconicas quanto literarias traz um grande potencial para a construção de metáforas frente às crescents ameaças que assolam a humanidade. A abordagem através de procedimentos de caráter coral e natureza ludica pode abrir novamente uma vertente poderosa para a Pedagogia das Artes Cenicas. Os procedimentos de encenação serão sempre novos, na mesma medida em que identidades se constituem continuamente e as formas que os jogos teatrais assumem são polifônicas. O registro da encenação que descrevo almeja mostrar como foi o processo de ensino/aprendizagem, na esperança que esse patrimonio de cultura oral não seja esquecido no futuro que nos aguarda. Palavras-chavePedagogia das Artes Cenicas. Alegoria. Jogo Teatral.

O presente artigo tem como foco uma reflexão sobre o universo da distopia, sobretudo no que respeita à sua variante política, bem como a sua figuração em obras literárias. Nesse sentido, foram selecionadas duas obras maiores da literatura distópica em modo antropo-zoomórfico: Animal Farm, de Orwell, e Rhinocéros, de Ionesco. Nelas, através do pretenso elogio do animalismo, configura-se uma denúncia política e ideológica dos falsos paraísos pós-humanos.

The main purpose of this paper is to teach the infinite ( ) properties in real ( ) and expansive ( ) sets. Using allegory and matching. In today's advanced world, there may be more teaching methods than there are instructors. Some teaching methods are better known as the classical and modern methods. Some of these methods are more effective in basic science courses, especially mathematics, among which we can mention exploratory, discovery, and theological methods. Each of these three methods differs in the way the teacher and student interact. In the verbal method, the discovery and extraction of results is mainly done by the teacher, and the transfer of information is one-way from the teacher to the student. Proponents of this method believe that mathematics is based on logic and aims to strengthen the power of reasoning. To argue some propositions and understand some words, deductive, inductive and allegorical methods are used to facilitate and comprehend in teaching learners. Although allegory has less proving power than induction and analogy, it is more effective for adaptation and replication. What is claimed in this article is the role of allegory and conformity in teaching the word infinity (∞), and its properties in the expansive set ( ) There is no limit to infinity or limit to infinity. Only this article discusses the absolute infinity. Its adaptation or similarity to the sea and the desert, to facilitate teaching, which has been welcomed by learners and has been enthusiastic, has led to sustainable learning. Also, the properties of the two sets ( ) and ( ) are compared.

‘The Seducer’s Diary’ is not a nostalgic account of a Romantic seducer-figure, and it does not represent the ‘ethical’ rejection of such Romanticism. Instead, it portrays the violence involved just...

O presente artigo pretende colocar em diálogo a ideia de tempo e alegoria em Walter Benjamin como instrumentos de análise de fotografias de paisagens do Centro de Florianópolis, Santa Catarina, Brasil. Nas teses sobre o conceito de história, Benjamin (1987) afirma que a verdadeira imagem do passado perpassa veloz pelos tempos, pois o passado é fixado como imagem que relampeja irreversivelmente no momento em que é reconhecido. Metodologicamente, optamos por fotografar cenários do centro de Florianópolis, intencionalmente escolhidos para discutir as ideias de Benjamin sobre alegoria, e trazer essas imagens como fios de condução para pensar suas ideias e a história da cidade. Como resultado, identificamos que a arquitetura dos prédios e os monumentos das praças da cidade são constituídos por fragmentos do passado que permanecem até o presente, mas que também observamos essas permanências nas pessoas que circulam e na rotina que ocupa o espaço.

U radu se analizira slika Nevesta Pivljanina Baje kao primjer nacionalno angažiranog stvaralaštva Đure Jakšića i verbalno-vizualnog prožimanja. Slika i njezina funkcija tumače se u kontekstu aktualne političke realnosti ‒ nacionalne borbe za oslobođenje od Otomanske vlasti, ukazujući na utjecaje i ikonografske predloške suvremenog europskog historijskog slikarstva, prije svega slikarstva Eugènea Delacroixa.

This text introduces the symposium on Fredric Jameson’s Allegory and Ideology (2019), the second volume in his six-part The Poetics of Social Forms. It frames the debate with a brief exploration of some of the figures and problems of allegory that appear across Jameson’s œuvre, and surveys some of the Marxist conceptualisations of allegory that have shaped Jameson’s approach, as it straddles allegories of the commodity and allegories of utopia. The musical investigation of the nexus of allegory and affect, and the presentation of political allegory as primarily concerned with the disjunction between (national and international) levels are also touched upon as salient dimensions of Jameson’s theorising.

The vampire of classic gothic fiction has long been recognized as allegory for industrial capitalism of the late 1800s – an assertion influenced by Karl Marx’s apt description of capitalism as vamp...

The main trends in the development of the English-language poetry of Kenya at the turn of the XX—XXI centuries are considered. The main material is a collection of poems by Kenyan poets, first published in the early 2000s. Particular attention is paid to the ideological and artistic transformation in the work of the young generation of Kenyan poets of the key directions in the development of Kenyan English-language poetry, which developed in the first half of the XX century. The novelty of the research lies in the conclusion about the continuity of the experience of the older generation poets by the English-speaking Kenyan poets, which is expressed in the development of two key directions of the development of Kenyan English-language poetry: socio-political and philosophical-lyric. At the same time, a fundamental change in the artistic method and style transformation is noted in the work of the new generation of Kenyan authors: unlike their predecessors, young Kenyan poets are increasingly gravitating towards the use of rhyme, expressed allegory and imagery, and also adopting previously untested techniques, for example, the use of elements of youth subculture. New material has been brought in, many names are first introduced into the everyday life of domestic and world African studies.

espanolLa figura heroica de Hercules y su transmision mitica resultan practicamente inabordables, pero hay dos aspectos clave que pueden al menos servir de guia para su comprension: su doble condicion de hombre y dios, y su transito entre la Naturaleza y la Cultura. En el presente articulo reflexionamos sobre como, en la tradicion mitica, ambos aspectos llegan de manera alegorica hasta la Edad Media. Nos centramos muy especialmente en la obra literaria de Enrique de Villena, en el primer tercio del siglo XV, que adapta el mito segun las categorias ideologicas de su epoca. EnglishThe heroic figure of Hercules and its mythical transmission are practically unapproachable, but there are two key aspects that can at least serve us as a guide for his understanding: his double condition of man and god, and his transit between Nature and Culture. In the present article we reflect on how, in the mythical tradition, these aspects reached allegorically until the Middle Ages. We will focus especially on the literary work of Enrique de Villena, an author from the first third of the 15th century, who reinterpreted myth according to the ideological categories of his time.

This essay reads Richard Wright’s speculative novella, “The Man Who Lived Underground” (1940/1996), as an anagrammatical allegory of liturgical reading. By anagrammatical, I invoke Christina Sharpe...

Fredric Jameson’s recent book, Allegory and Ideology, argues that allegory has become a ‘social symptom’, an attempt during moments of historical crisis to represent reality even as that reality, rife with contradictory levels, eludes representation. Mobilising the fourfold medieval system of allegory he first introduced in The Political Unconscious, Jameson traces a formal history of attempts to come to terms with the ‘multiplicities’ and incommensurable levels that emerge within modernity and postmodernity. This article identifies the complexities of Jameson’s understanding of allegory and draws on the brief moments when Jameson references the Anthropocene to argue for an allegorical reading of our contemporary environmental crisis that would allow us to see the problem the Anthropocene names as truly contradictory: at one and the same time, the world we inhabit appears to us as a world of our own making and as a world that has become truly alien to us.

The present work proposes to interrogate, based on a photographic production and a later reflexive tour, the existing relationships between the ruins of the Historic Center of São Luís and the records that, through graffiti and “pichações/pichações”, young people from the periphery have carried out on the walls, doors and windows of historic houses in thecapital of Maranhão, Brazil. The methodology used for the production and inventory of the research images is based on a visual anthropology and an anthropology of the image. From the point of view of the way of operating the thought, I use some ideas of the philosopher Walter Benjamin (2012, 2009, 2013) about photography, remembrance and allegory. Lastly, I produce some commentaries on the meanings and aesthetic/political powers of graffiti and “pichações/pichações” in the Historic Center of São Luís -MA and the correspondence established with the ruins of the houses present there. The text is not intended as revisionist of themes related to graffiti, pichações/pixações and heritage, but a critical essay regarding how the visual arts operate in the contextof the correspondence between abandonment and appropriation of public space.

This article makes the case for the zemiological value of Fredric Jameson’s (2019) model of fourfold allegory. Zemiological value is the value in reducing harm and it is realized by means of etiology, i.e., explaining the causes of harm. I make the case using a single, detailed example, but the argument is generalizable by virtue of the relationship between fourfold allegory and contemporary social life. I begin by delineating Jameson’s model of allegory as a thick narrative with four distinct levels of meaning: literal, symbolic, existential and anthropic. I explain each of these levels with reference to Carnival Row (2019)—an urban fantasy television series that explores racism, alienation and decivilization. I conclude by demonstrating how the allegory reveals a particular combination of causes that contribute to the replacement of a cosmopolitan ideal with a revanchist reality, articulated by Gareth Millington (2011) in his theory of the racialized global metropolis.

This study is a comparative analysis between the poetry of Luis Quintais – a Portuguese poet – and Francisco Alvim – a Brazilian poet. The objective is to investigate the interrelation between parody and allegory as intertextual and interartistic processes of appropriation, meta-representation and refunctionalization. I will study how the poems develop processes that give new meaning to existing works and participate in the constitution of an “appropriate imaginary” that has characterized contemporary art.

The article is devoted to the history of Antwerp printed books, which, in the first half of the 17th century, underwent a profound transformation caused by the influence of the Baroque style emerging in the Netherlands, with its characteristic contrast, dynamism and intensity of images, and combination of reality and illusion. The author demonstrates the Baroque book development by the example of the sources that she first introduces into scientific circulation: books stored in the Research Department of Rare Books (Book Museum) of the Russian State Library (RSL). The article gives examples of the formation of a new allegorical thinking of the Baroque, in which allegory became the norm of artistic vocabulary. The new allegorical imagery is noted in the title pages and illustrations of books that characterize the printing of that period. The Antwerp printer Balthazar Moretus (1574—1641) was an excellent master of this new Baroque book. By using leading artists to design his books, he took an important step in the development of book design. There are well known publications by B. Moretus featuring beautiful title pages designed by his friend Peter Paul Rubens (1577—1640). The typical appearance of text sheets is also the result of the use of elegant fonts, rich design and abundance of decorative elements. The article analyzes the influence of Rubens on the Baroque book formation in Antwerp.

In 2011 a tsunami over 20 meters high struck Japan's northeastern coastline. Along with causing close to 20,000 deaths, it destroyed many buildings, leaving behind a landscape of ruins. In the years since the disaster, various groups in Japan have interpreted these ruins as a way to work through “what went wrong.” Some pointed to local officials’ failure to properly prepare for the disaster, as well as the form of economic development that they had promoted. Others, however, particularly state officials, argued that the ruins of failed development reveal something that can be used to stimulate economic recovery and legitimize further development. Ironically, these groups mobilized the debris of “progress” to advance progress itself, complicating theories of recent ruins as “counter-sites.” This shows that actors can construct and leverage the truth content of ruins in support of the very ideologies and processes that caused their ruination in the first place. [3.11, disaster, governance, materiality, modernity, ruination, Japan]

Mujāhid b. Jabr (d. 103/721) is one of the prominent scholars of tābiʿīn generation. There is consensus among scholars that he was a reciter (qāriʾ), a jurist (faqīh), and a trustworthy (thiqa) scholar. A disciple of Ibn ʿAbbās (d. 68/687-688), he was particularly known among tābiʿīn for his contributions to the science of Qur’an exegesis (tafsīr), and therefore has been referred to by such appellations as al-Imām and the leader of reciters and exegetes (shaykh al-qurrāʾ wa-l-mufassirīn). Eminent scholars, such as al-Shāfiʿī (d. 204/820), Aḥmad b. Ḥanbal (d. 241/855), al-Bukhārī (d. 256/870), and al-Ṭabarī (d. 310/923) valued his narratives and regarded him as an incontestable authority in tafsīr. Mujāhid comes to the fore for his emphasis on personal opinion (raʾy) in tafsīr, as well as research and verification methods, such as visiting the places where some of the stories in the Quran took place, traveling for the pursuit of knowledge, and asking for information from the People of the Book (Ahl al-kitāb). The fact that he himself conveyed his opinions about the virtue of the raʾy is one of the most important indicators of his aforementioned features. The tradition that those who deepen their knowledge will know the interpretation of the ambiguous verses (mutashābihāt), whose only narrator from Ibn ʿAbbās is Mujāhid, may be seen as an expression of his conception of tafsīr. Noteworthy in this context is that he interprets some verses through metaphor and allegory. This interpretation of his and others like it gave rise in the classical period to the opinion that he had “some views in tafsīr that should be approached with caution,” leading some contemporary scholars such as Goldziher (d. 1921) to regard him as an “early harbinger of the tendency to rational exegesis.” One of the most controversial examples of his rational exegesis concerns the conversion into monkeys of the Israelites who had violated the Saturday ban. While the majority of the exegetes understood from the verses that the people in question had been literally transformed into monkeys, Mujāhid claimed that this was not but an allegory and that there was no conversion to monkeys in the real sense, but, in the sense that they were transformed into monkey-like people in terms of their character traits. Most exegetes, especially al-Ṭabarī, rejected Mujāhid’s view on the grounds that it was tantamount to not accepting the other punishments given to the Israelites, and the metaphorical interpretation in this way was contrary to the literal meaning of the verse as well as to consensus. Mujāhid’s view has been mostly accepted in the modern approach to tafsīr, where rational tendencies become more prevalent. Regarding the table miracle of Jesus, Mujāhid said, “This is an allegory; nothing was sent down to them.” This statement has been read to mean that the apostles abandoned their wishes when Allah informed them that He would bring down the table, but would inflict great torment on them if they did not believe. However, most exegetes, following the view of al-Ḥasan al-Baṣrī (d. 110/728)—who thinks that “if this table had been brought down, that day should have been a holiday among Christians”—did not accept his view, holding instead that the table was offered and associating this miracle with some festivals celebrated by Christians. An opinion has been attributed to Mujāhid that he interpreted the expression “Your Lord will raise you to a praised position” in verse 79 of sūrat al-Isrāʾ as “He puts him on His Throne with Himself.” The majority of exegetes understood the same verse as “the authority of intercession.” While al-Ṭabarī and some literalists (Ahl al-ḥadīth) accepted this view of Mujāhid and tried to explain its possibility, ḥadith scholars, such as Ibn ʿAbd al-Barr (d. 463/1071) and al-Dhahabī (d. 748/1348), as well as commentators, such as al-Wāḥidī (d. 468/1076) and al-Rāzī, strongly opposed it. In fact, the attribution of this view to Mujāhid seems problematic in terms of both transmission chain and theory. Regarding transmission, Lays b. Abī Sulaym (d. 143/760-61) is considered a weak narrator. In terms of theory, Mujāhid adopted, just like the majority of the scholars, the view that the verse refers to the authority of intercession, depending on stronger narrative chains. It is impossible for one who prefers rational interpretations in many occasions and agrees with other scholars that the verse signifies intercession to adopt, at the same time, a view that evokes anthropomorphism (tashbīh and tajsīm).

This essay builds on Walter Benjamin’s allegory of the ruin to explore how W.G. Sebald’s work draws on ruination as a structural esthetic. The prevalence of destruction, wastelands, and discarded m...