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"A Different Trek: Radical Geographies of Deep Space Nine" is a timely and in-depth analysis of the TV series Star Trek: Deep Space Nine (DS9). The author, David Seitz, explores the political, economic, and cultural perspectives embedded in the show, deviating from the liberal secular humanism of Star Trek. Seitz examines DS9's commentary on concepts such as racial capitalism, imperialism, settler-colonialism, and social reproduction, drawing from various disciplines and perspectives. The book offers a critical commentary on past and future presents, inspiring alternative possibilities for better futures. It is recommended for those interested in the critical humanities and social sciences. [Extracted from the article]

The text is a collection of book reviews. The first review discusses a book titled "The Light that Binds" by John F. Boyle, which explores St. Thomas Aquinas's theory of natural law. The reviewer praises the book for its deep understanding of Aquinas's philosophy and its relevance to the study of natural law. The second review discusses a book titled "Origen and Prophecy" by Claire Hall, which examines Origen's system of exegesis and theology of prophecy. The reviewer commends the book for its insightful analysis and its contribution to the understanding of early Christian conceptions of knowledge, prophecy, and Christology. The third review discusses a book titled "Cross and Creation" by Mark E. G errien, which provides an introduction to the theology of Origen of Alexandria. The reviewer notes that the book challenges the traditional interpretation of Origen as a Platonist and highlights the importance of the French Catholic reappraisal of Origen's theology in the twentieth century. [Extracted from the article]

This allegorical postcard is organized around two groups of photographs. The first group was the result of a joint collaboration with the Vancouver artist Scott Saunders and produced photographs which have peppered several of my previous texts published by American, British and Canadian Studies. The second is a series of photographs taken by Scott Saunders from the window of his apartment in Vancouver in which he documents the street life constantly ebbing and flowing on the sidewalk below. The catalyst for bringing these two groups together was a photograph I took several years ago in Sambro, Nova Scotia (a small fishing village located just outside of the city of Halifax) depicting a forlorn sunken fishing vessel. The term “flotsam” is applied, according to the Oxford Reference Dictionary, to “the wreckage of a ship or its cargo floating on or washed up by the sea,” while “jetsam” describes the things or objects deliberately “thrown away, especially from a ship at sea and that float toward land.” Combined, these images of words and devastated human beings are caught in an apparently endless circulation of violence and contingency located at the heart of the urban fabric of a modernity bereft of any horizon of hope, redemption, or rescue.

Fish Night, an episode of LOVE DEATH + ROBOTS (S01E12, 2019) based on a 1982 short story by Joe R. Lansdale, can be interpreted as an allegory of the impossibility of immersive experience: if real, it is deadly, because the images are no longer such or ghosts but living beings present in a shared environmental habitat, acting with but also against the subject, in turn no longer a spectator. Comparing the story and film, and ancient ekphrastic literature, I discuss, in a trans-medial imaginary genealogical perspective, the symptoms of this cultural topos and of the regressive desire for immersion and for transparent immediacy that shapes and drives it, dwelling in particular on the ambivalent phenomenological and ontological relations between living bodies, pictures and media as deep time-bending.

A careful study of the writings of Algirdas Julien Greimas refutes many of Paul de Man’s influential criticisms of semiotics. Greimassian narratology neither reduces rhetoric to grammar nor simply conflates grammar with logic. Instead of forming “a closed totality”, the Greimas square is an open-ended analytical device; it is not the semiotic equivalent of the Schillerian chiasmus. Despite de Man’s claims for the disruptive agency of rhetoric, the elementary structure of signification organizes the possibilities of de Man’s own rhetoric. His essay “The rhetoric of temporality” is a narrative whose four major actants are symbol, allegory, irony, and mimesis. Though the discoursive level of de Man’s essay represses mimesis, it is active in what Greimas would call the argument’s surface grammar, which constrains, without completely determining, the narrative transformations the argument undergoes. While de Man’s analysis regards symbol as epistemologically inferior to allegory and irony, the persistence of symbol helps make “The rhetoric of temporality” a fascinating literary text in its own right.

This essay examines Calderón's El diablo mudo , an auto sacramental in which the Spanish playwright stages an extraordinary interpretation of demonic possession by reinterpreting the multiple Gospel tales on this subject. The essay first highlights the centrality of Satan in Calderón's autos in the light of his view of history and allegory. Subsequently, it discusses the early-modern interest in demonic possessions as public spectacles and the cultural significance of exorcism. Finally, the essays shows that Calderón's El dablo mudo represents a unique interpretation of the basic interplay between history and allegory, the foundation of Calderón's autos. The essay stresses that El diablo mudo is as a play-within-a-play in which the devil plays the double role of director and character. In this auto the devil aims to perform a possession that will signify a metamorphosis from a historical ("historia") to a new allegorical (alegoría) level. The devil wishes to stage not how the original man fell from grace but rather how every man is subjected to his evil power. In a stunning reversal of the Gospel narratives, in El diablo mudo an instance of human self-discovery and not an external divine intervention frees the tormented human being. Paradoxically, like the demons in Calderón's other autos , in El diablo mudo Christ makes the possessed person aware of his nothingness, but instead of leading the victim to despair, this insight on his human condition frees the victim from the demonic assault. [ABSTRACT FROM AUTHOR]

Mozart's final opera, Die Zauberflöte , wields visual and musical metaphor to deliver possibly the most effective allegory of Enlightenment themes ever achieved in Austrian art. Supported by a systematic tonal analysis, this article reviews, integrates and expands upon decades of scholarly research on this opera, with a strict focus on the thematic symbolism of its harmonic elements. By unifying disparate sources and providing an independent overview of tonality throughout the two acts of Die Zauberflöte , this study aims to foment subtler appreciation of Mozart's application of harmonic contrasts. Special attention is devoted to the manner in which the symbolic meaning of such contrasts evolves together with the opera's dominant themes, to build a formidable musico-dramatic metaphor of a fundamental narrative of European Enlightenment—the philosophical struggle of reason against ignorance. [ABSTRACT FROM AUTHOR]

The article focuses on the figure of the poet and writer Bartolomé Gutiérrez, highlighting his work "Historia de Xerez" and the romance in "pliego de cordel" format "Relación nueva de la hermosa Arida". Gutiérrez was inspired by popular romances and used a typical description of 17th-century poetry to portray his character. The text analyzes the physical characteristics of the lady Arida in the romance, using metaphors and allegories. It is also mentioned that Gutiérrez composed a sacred lyrical Panegyric years later. [Extracted from the article]

This essay considers the abstract aesthetics of J. M. Coetzee's Jesus trilogy—The Childhood of Jesus, The Schooldays of Jesus, and The Death of Jesus—as emphasizing the pertinence of the religious in terms of a rupturing of an ontotheological vision of the world. It analyzes Coetzee's employment of religious allegory in the trilogy as a commentary on the birth of religious consciousness that finds its ultimate meaning in an opening out of hermetic experience toward social community and unthematizable singularity. Using Jean-Luc Nancy's ideas of Christianity as a deconstructive event and the ecstatic sense of the world, this essay traces the thematic cohesion of the trilogy in terms of an understanding of divinity that provides an atheological grounding of phenomenological sense. This reading not only emphasizes Coetzee's turn toward a "leaner" style in his late writing as the mark of a unique novelistic outlook toward the pertinence of transcendence in a postsecular world, but also engages with previous readings of allegory in Coetzee's work to posit a different understanding of allegory to be a conscious textual choice that both separates and ties together "fallen" temporality and the redemptive potentialities of literature, resulting in a sense of reality that stubbornly leads outside of it. [ABSTRACT FROM AUTHOR]

This essay considers the ways in which Silvia Kolbowski's 2018 video That Monster: An Allegory addresses the psychical and political basis of Donald J. Trump's appeal in the 2016 US election. The video is crafted out of a collection of fragments from James Whale's 1935 The Bride of Frankenstein, which Kolbowski plays first with a score by Philip Glass and then in silence. This article asks how such a format might illuminate resonances between certain psychoanalytic concepts and the postmodernist discourse of allegory as exemplified in the work of Paul de Man and Craig Owens. I argue that these theoretical frameworks help us to retain an open reading of Kolbowski's allegory which shifts an interpretive focus from questions of identity to problems of repetition, refusal, and erasure. [ABSTRACT FROM AUTHOR]

What we now call Tarot was originally known as the game of 'trionfi' (i.e., 'triumphs' or 'trumps'). This game emerged in fifteenth century Italy as what appeared to be an amalgamation of two different series of cards: on the one hand, a four-suited deck of playing cards brought into Europe via the Mamluk empire from the Muslim Near East; on the other hand, a deck of 22 allegorical images originating in medieval Christian iconography. The Mamluk-originating cards are numbered according to the Hindu- Arabic system, while the European Trumps cards have Roman numerals. One special trump card known as the Fool or Crazy One (Il Matto or le Fol) appears to mediate, however, between the two different series, eastern and Western. The Fool is numbered 0 -- the odd one out among the Roman-numeraled allegorical cards. The Fool card subverts the logic of play in systematic ways that anticipate the vision of Folly we see elaborated in the later philosophy (cf. Erasmus) and literature of the age (cf. Shakespeare) [ABSTRACT FROM AUTHOR]

The universal Christian subject at the center of The Pilgrimage of the Lyf of Manhode is a figure dependent on racist difference for a coherent experience of self. This essay focuses on the allegorical scene of perception, in which the deformed body of a personified figure becomes an exercise in pedagogical explanation. Taking claustrophobia as symptomatic of the poem's investment in sensory information, the essay explores a neglected figure, a bishop with horns referred to as "Moses" or "like Moses," whose depiction is the moment where Jewishness enters the poem's field of vision: subordinate to the demands of Christian allegory and yet condensing a historical significance that exceeds it. [ABSTRACT FROM AUTHOR]

The article discusses mermaids in Arthurian studies. It mentions that many fantasy realms have embraced essentialism, cultural allegory, and White supremacy. It reveals that representations of race in modern Arthuriana have been met with negative reviews like Djimon Hounsou's performance as Bedevere in Guy Ritchie's film, "King Arthur: Legend of the Sword."

This article delves into the question of what motivates philosophical inquiry and the development of a critical mindset. It explores various perspectives, including the wonderment that arises from existence, the existential structure, and the ethical prohibition of the Other. The author then focuses on Blanchot's interpretation of Plato's allegory of the cave, where Blanchot proposes that it is homicide, rather than wonder or ethics, that enables philosophical questioning. Blanchot argues that to engage in philosophy, one must leave the cave and confront death, which disrupts the continuity and inwardness experienced within the cave. The article raises inquiries about the connection between violence and philosophy and suggests that Blanchot's work provides fresh tools for contemplating the critical role of philosophy and the inherent violence within it. [Extracted from the article]

Copyright of International Journal of Public Relations & Advertising Studies / Uluslararası Halkla İlişkiler ve Reklam Çalışmaları Dergisi is the property of International Journal of Public Relations & Advertising Studies 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 Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur Arastirmalari Dergisi 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 purpose of the study -- to highlight and analyze the circulation of fantasy allusions in contemporary narratives used to label Russia and its military aggression against Ukraine. The research methodology is based on the strategies of comparing and analyzing the transitory components of Tolkien's mythology in the form of symbolic images that have been transformed and used in modern narratives to define Russia. The scientific novelty. This article illustrates the conflicting and complex history of how J.R.R. Tolkien's fantasy narrative was perceived in the USSR and in post-Soviet Russia. The practices of using fantasy images and characters as allegories to represent the Soviet regime and its leaders have been considered. It is noted that the attractiveness of the allegorical likening of the USSR to Mordor as an image and topos / place of "universal Evil" is explained by the fact that the reader of that time perceived the fantasy narrative as a coded totalitarian history. It is emphasized that Tolkien's narrative constructed a kind of mythopoetic reality oriented to a certain experience of the reader. The reasons for the surprising adaptability of images, plots, and characters from the fantasy narrative and Tolkien's mythology have been revealed, allowing their high transition level and quick transfer to the current realities of war, primarily to label Russian aggression against Ukraine. Conclusions. It is argued that fantasy allusions, as elements of the traveling trans-myth, have become part of modern war narratives. Russia has been portrayed as Mordor, the "kingdom of Evil", due to the adaptation of totalitarian and old imperial heritage into the modern Russian state and political project. Fantasy images are being used in a rather peculiar way due to the ongoing Russo-Ukrainian war, reflecting the complex search for new lines of cultural and worldview demarcation. [ABSTRACT FROM AUTHOR]

In 20th-century science fiction, robotic images have already had "gender" characteristics. Through the in-depth analysis of Asimov's story collection I, Robot, this paper reveals the gendered process and identity construction mechanism of robots in its narrative. The fixed mode of human-machine relationship leads to the fact that there is a power relationship between men, women and robots, which is embodied in the two gender schemas: human "Adam" - Robot "Eve" and "Masquerade" woman - Robot "Bride". With the displacement of the power subject in different situations, the gender of the robot also changes, showing the characteristics of fluidity, discontinuity and paradox. It should be emphasized that the gender writing of sci-fi narratives is not intended to promote a discourse of power in the paradigm of anthropocentrism, but rather as a metaphor or an allegory for reflecting on humanity. [ABSTRACT FROM AUTHOR]

This paper focuses on the John Hough film Dirty Mary, Crazy Larry (1974). Using the work of Sabina Spielrein, this paper situates the car chase in the film as allegorical and as representing a desire for economic and social rebirth for its titular characters. However, the economic, political, and social upheaval of the period means that such desire is impossible to fulfill. Contextually, the promise of systemic change, so potent in 1960s America, had not fully materialized. The car chase that makes up much of the film then becomes a death drive for the characters. This positions the titular characters as variations on the absurd hero that Albert Camus articulates in The Myth of Sisyphus. They flee from institutional authority with little hope of escape, yet they flee anyway, finding meaning in the rebellion. Dirty Mary, Crazy Larry differs thematically from the car chase films of the late 1970s and early 1980s. These later incarnations reappropriated the car chase to mute the genre's capacity to provide a critique of dominant social and political discourses. Dirty Mary, Crazy Larry is underrepresented in critical writing, and this paper seeks to redress this underrepresentation. [ABSTRACT FROM AUTHOR]

Despite the digital becoming ever more ubiquitous, the physical matters more than ever. We see this in interviews with actors who voice animated characters, actors who voice computer generated imagery (CGI) characters, and actors who voice other non-human characters. Many things present a challenge to the ways in which we understand the physical—the structures of meaning in the world primarily, along with the specific filmic ways we understand star bodies. These combine to create barriers to 'seeing' the truth of a character we might think, but this is fixated on an approach that privileges a hierarchy of actors over character. Equally, it is one that privileges body over character. The recent series of Westworld begins to challenge this, thinking about the ways in which while the physical may be required, audiences are able to think beyond it. It functions as a way to consider the digital adaptation of the self, and the return to the needs of the physical to express character. Ultimately, this article argues that although we cannot escape the physical, the hierarchies and boundaries we have in place for understanding the truth of the self remain as unfixed as ever, despite the recourse to adapting through non-physical means. [ABSTRACT FROM AUTHOR]

Converting polychrome illustrations in manuscripts into a woodcut format was a challenge for the pioneers of early alchemical prints, and various strategies were developed to address these issues, which encompassed both technical and content matters. An examination of the picture programs of the early sixteenth-century alchemical prints from Basel held in the Bibliotheca Philosophica Hermetica reveals various editing and printing strategies. Affected are technical representations like ovens and other devices with a long tradition, as well as series of alchemical allegories. Some of the series had a long reception including reprints in the 18th century, while others have fallen almost into oblivion – not least because woodcuts were replaced by copperplate engravings with new design possibilities. [ABSTRACT FROM AUTHOR]

A careful study of the writings of Algirdas Julien Greimas refutes many of Paul de Man's influential criticisms of semiotics. Greimassian narratology neither reduces rhetoric to grammar nor simply conflates grammar with logic. Instead of forming "a closed totality", the Greimas square is an open-ended analytical device; it is not the semiotic equivalent of the Schillerian chiasmus. Despite de Man's claims for the disruptive agency of rhetoric, the elementary structure of signification organizes the possibilities of de Man's own rhetoric. His essay "The rhetoric of temporality" is a narrative whose four major actants are symbol, allegory, irony, and mimesis. Though the discoursive level of de Man's essay represses mimesis, it is active in what Greimas would call the argument's surface grammar, which constrains, without completely determining, the narrative transformations the argument undergoes. While de Man's analysis regards symbol as epistemologically inferior to allegory and irony, the persistence of symbol helps make "The rhetoric of temporality" a fascinating literary text in its own right. [ABSTRACT FROM AUTHOR]

This article discusses the Qur'an and its allegorical expressions translated into Turkish. It considers classical and modern translation methods and the relationship between the Qur'anic text and various translation types. In the translation of Qur'anic texts, it is important to follow the correct procedure, particularly when translating literary devices such as allegory, idiom, and metaphor into Turkish. This article attempts to determine the correct procedure for translating allegorical expressions by first introducing and defining the concept of allegory. The study first examines the connection between the Qur'anic text and various text genres. Next, it explores the effectiveness of these methods in translating allegorical expressions, using classical and modern translation techniques as examples. As a result, it is evident that classical literal and exegetical translation methods do not adequately translate allegorical expressions. To ensure correct translation, alongside these traditional methods, contemporary translation techniques such as editing, equivalence, localization and foreignization should be employed. Based on the Turkish equivalents of the allegories, an approach was developed for prioritizing the translation methods that are most appropriate for correct translation. [ABSTRACT FROM AUTHOR]

One of the most common motives for ancient magic and medicine was the belief in mysterious properties of the universe element. Believers of this knowledge would investigate the universe’s elements (from animal body parts to numbers and letters), their properties, and their effects on universe creatures and phenomena. They used their findings in various fields such as medicine, fortune-telling, dream interpretation, weather forecasting, Alchemy, magic, and talisman. These beliefs were also manifested in ordinary people’s life and ideology which is traceable in the context of their contemporary stories. The mysterious nature of some of the Persian stories can be also attributed to this knowledge. Adventures such as Simorgh and his magical and therapeutic actions, Rostam's battle with Div-e Sepid, Key Khosrow's magical actions, etc. are among the mythological stories in Shahnameh, in which the beliefs related to this knowledge have had a significant reflection. In the present study, we shed new light on the topic based on parallel texts, along with mythological and allegorical stories such as Nozhat Nameh Alaei, Ajayeb almakhluqat, Javaher Nameh Nezami and AlAbniyeh an Haqaqeyeq AlAdviyeh. These works contain information about the mysterious properties of elements. From this point of view, literary works written in two genres of magic and common medicine were analyzed in relation to four categories of animals, plants, stones/metals, and noises/voices. We also tried to show the roots of some of these magical, scientific, and folklore practices. Introduction In the present study, ‘knowledge of elements’ is discussed, which is one of the important aspects of ancient beliefs. This knowledge can be defined as the mysterious effect of things on each other for which there is no logical reason whose manifestations are reflected in various parts of the life of ancient people. In this belief, all the elements of existence, from human and animal body parts to celestial bodies and numbers and letters, have hidden properties that knowing them can be used to perform extraordinary works or even to solve people's daily problems. Belief in the hidden properties of objects has played an important role in ancient human thought: in folk medicine, veterinary medicine, agriculture, dyeing, glassmaking, perfumery, and practices such as spells, witchcraft, and similar works. Many works about this knowledge have been left, which can be mentioned in order in the books Khavass-e Belinas, Khavass ol-Hayavan of Aristotle, Khavass-e Mavazin of Jaber ben Hayyan and Nozhat Nameh Alaei (an encyclopedia on properties) of Shahmardan. Our emphasis has been on using some Persian scientific and pseudo-scientific texts that have a collection of information related to the mentioned knowledge, to reach the important and key common beliefs of ancient times and to understand the literary texts through. The creators of literary works have never lived apart from the common people and literate elites and their beliefs. Most of the ancient Persian writers are called sages, which is proof of their knowledge and study in the common sciences of their time, and traces of their knowledge and beliefs can be found in their works. Materials and Methods In order to carry out this research, we have collected all kinds of hidden properties of creatures from among sources such as Nozhat Nameh Alaei, Ajayeb almakhluqat, Javaher Nameh Nezami, and Al-Abniyyeh on the facts of medicine. We have included their applications in the two parts of medicine and witchcraft, because people have dealt with these two types of techniques on a daily basis, and their scholars have always practiced healing or witchcraft based on the properties of each element in existence. In each section, we placed relevant information in four categories: Animals, Plants, Stones and Metals, and Sound/Song. In each category, we narrated some mythological and allegorical stories with their different narratives from texts such as Shahnameh, Marzban Nameh, Kalileh va Demneh, and Haft Peykar. At the same time, we referred to the relevant parallel texts. Then, by describing and analyzing the beliefs related to the knowledge of elements in each story, we showed how a common theme was reflected in two different contexts. Research Findings Based on the results of the present study, in the belief of the ancients, which is rooted in hermetic beliefs, the phenomena of existence have special properties that no one is able to know and recognize. The scientists of this field used their knowledge to advance their own goals or that of their rulers, and for this reason, they were mysterious and sometimes terrifying or holy figures in the society who had a set of witchcraft and healing in them. A clear example of them can be seen in personalities such as Zal, Key Khosrow, Rostam, and Esfandiyar. It seems that these last two characters were actually faced with seven stages of magic in their Haft Khans, and to overcome them, they had to be familiar with magic. Discussion of Results and Conclusions Throughout the study, we showed that the belief in the knowledge of the hidden properties of objects was very strong among the ancients and reflected in all aspects of their lives, including formal and informal sciences, medicine and magic, alchemy, mathematics, stories, and daily life. This issue shows the importance of paying attention to the philosophy of life, worldview, and the type of attitude of the individual towards himself and the world around him in every era. Therefore, for a more accurate understanding of literary works, it is necessary to pay attention to the parallel scientific and pseudo-scientific texts of each period along with the study of literary texts. [ABSTRACT FROM AUTHOR]

This article explores the interpretation of the parable of Kun and Peng in the Zhuangzi, a Chinese philosophical text, by Chūgan Engetsu, a Zen monk and scholar. Chūgan argues that the parable highlights the connection between language and reality, and praises Zhuangzi's use of symbolism and allegory. Chūgan's interpretation differs from other commentaries on the Zhuangzi, but offers valuable insights into the text. [Extracted from the article]

The present article deals with the application of Jacques Lacan’s psycho-linguistic model of the chain of signification to the fragmented postmodern subject. Because of the inherent instability of the external as well as the internal environment of the subject, anxiety arises as a result of the fragmentation of the self, which, according to Lacan, has its basis in the interaction between the Symbolic order and the Real. Even though anxiety is a phenomenon that is impossible to evade, Lacan’s teachings, coupled with their immersion in Martin Heidegger’s understanding of the essence of technology, and the contemporary reinterpre)tation of Plato’s Allegory of the Cave, show that the subject can teach himself to navigate the complexities of anxiety and, consequently, even learn to use it for his benefit. [ABSTRACT FROM AUTHOR]

At first glance, the work of the Prague-born writer and musician Hermann Grab (1903-1949) has no particular affinity with the Mediterranean. Apart from a few journeys, there seem to be no explicit traces of a greater significance of the Mediterranean in his slender oeuvre. The short story The Murderer is an exception in this sense. It is a grotesque, highly allusive four-sided literary study of murder, fear, cowardice and opportunism in the face of the strengthening of Nazism in Europe. Against the setting of the Mediterranean, Grab weaves the symbolic and metaphorical dimensions of the sea into a small dialectic of Mediterranean culture and history. [ABSTRACT FROM AUTHOR]

The aim of the article is to clarify the basic perspective that Immagini cristiane e cultura antica adopted to read the relationship between early Christian iconographic production - the main subject of the book - and the development of the forms of later figurative art, as well as the path leading to modern aesthetics. For this purpose, the article compares the positions of Auerbach - that had an explicit influence on the book - with those of Benjamin, regarding the different ways in which the two Berliner authors interpreted the meaning and the function of allegory. In Auerbach, allegory is understood as the past of the figura whose logic, according to Immagini cristiane e cultura antica, underlies not only the Christian literary production of the first centuries, but also the figurative one. In Benjamin, conversely, allegory is understood as the future of the figura, followed to the definitive crisis of Christian messianism. [ABSTRACT FROM AUTHOR]

This article examines the visualization of Russia in the culture of the XVIII century when Russian culture was undergoing a radical transformation. Visualization refers to the functioning of an allegorical figure that personifies a people and/or a nation. The author demonstrates that this allegorical image first appeared in the panegyric drama of the era of Peter I under the influence of emblematic discourse transferred from Western Europe. This allegory of Russia clearly and visibly represented a new ideological concept and, in turn, influenced it, giving it a universal imperial character. [ABSTRACT FROM AUTHOR]

Copyright of Eurasian Journal of Philology: Science & Education is the property of Al-Farabi Kazakh National University 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 Philostrato is the property of Epiarte, S.L. 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.)

In addition to transmedial techniques such as metalepses, allegories, or obtrusive narrators, contemporary videogames also use medium-specific forms, including game rules, mechanics, or interfaces, to create metareference. Similarly, metareferential games seem not only concerned with questions of their fictionality but show particular interest in their own technological infrastructure and embeddedness in digital culture. In this article, I propose a systematic approach to analysing metareference in videogames, distinguishing between the gameworld and the game system as the two main layers of communication from which metareference emerges. In a case study of the indie metagame The Magic Circle (Question 2015), I show that the game's distinctive metareferential style is the result of interactions between what I call diegetic and ludic forms of metareference, and which are produced at the level of the gameworld and the game system, respectively. [ABSTRACT FROM AUTHOR]

Copyright of Atalanta: Revista de las Letras Barrocas is the property of Atalanta Revista de las Letras Barrocas 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.)

Nowadays, television programs are an inseparable part of life, and animation has a special place in these programs, in such a way that the audience is unconsciously exposed and influenced by persuasive communication. The main goal of the current study is to investigate the techniques of persuasion in the construction of linguistic value concepts in the animation of Shekarestan, in which linguistic tools such as allegory and proverbs, which are intertextual topics, are used to convey concepts and persuade the viewer. The current research, which is conducted on eight episodes of animation of Shakrestan, is of a descriptive-analytical type, its data was analyzed based on the model of Carl Hovland (1949) and its purpose is to present the results of the study of the representation of cultural values in Iranian animation animation to influence children's cognitive behavior. The findings revealed that in every part of Shakrestan, an attempt has been made to convey and induce the message to the audience by using specific discourse, cultural beliefs and various persuasion techniques. The results show that among the techniques of persuasion, topicalization, repetition, flattery, exaggeration, and explicit claims are more used to represent cultural values. It should be mentioned that special linguistic tools such as intertextuality, proverb, allegory, simile and irony are also used in the discourse of this animation. [ABSTRACT FROM AUTHOR]

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The Epistle to the Hebrews contains one of the most unique Greek lexicology and syntax of all the New Testament writings. Behind syntax, however, there lies a very profound theological vision on topics such as Christ, Temple, holiness, perseverance and salvation. Studying Hebrews against the background of Graeco-Roman culture, the source that most contemporary scholars mention as being closest to the world of Hebrews in this context is Philo of Alexandria. Not only on philological grounds, but also in matters of methods of interpreting the Old Testament cult and in theology, Hebrews and Philo share a very common background. Analyzing the Epistle to the Hebrews comparatively, we are bound to ask whether or not comparsions such as these are warranted. In the following study we will state the state of the problem and then will examine the two sources that seem to have served as a source of inspiration for the author of Hebrews: the Old Testament and Philo of Alexandria. We will focus exclusively on the issues of the method of allegory and the spiritualization/reinterpretation of Old Testament cultic entities, since both Philo and Hebrews are characterized by these concerns. In essence, we will want to know who or what served as the most plausible source of inspiration for the author of Hebrews in the particular area of the reinterpretation of the Old Testament cult.

The author presents the history of the most significant interpretive transcriptions made by European linguists and medievalists for the monument of early Romanesque lyrics of the 10th century, the anonymous song Phebi claro.. , known under the a posteriori title imposed on it Alba Bilingue . Paying attention to the transcriptions of the text in general, and especially of the refrain, presumably written in Occitan, makes it possible to see the materialized views of their authors on the specifics of the language of the monument, in particular the assignment of word forms to a certain language and the sphere of a certain stylistic coloring (literary speech vs. vernacular speech). This, in turn, makes it possible to understand how each of the researchers saw the whole reconstructed meaning of the song. Attention to the existence of two options for interpreting the text - as a continuation of the Ambrosian allegorical tradition of religious poetry and as a pretext for the secular alba genre in the love lyrics of the troubadours - is drawn, and these options are evaluated. Separately, the verse forms of the monument, to which not enough attention was paid by polemical researchers, are described, and the unity of euphony techniques is stated, which is an important conclusion in the light of the fact that the vast majority of studies usually present Latin couplets and the Romanesque refrain in opposition, reaching the assumption of a late insertion of the refrain. The author pays attention to the lack of unity in the lyrical plot of the monument in view of the fact that the interpreters passed this plot as an obviously important layer of the text by. Also the author points out that in one way or another all interpretations were aimed at simplifying, narrowing the meaning of the monument, which seemed achievable as a result of conjectures, and suggests that contradictions at all levels of the text could be initially set by anonymous author of this song, and linguistic, rhythmic, plot, etc. ambivalence is its essential state, which does not require simplifying, one-sided interpretations.

The research is devoted to the function of inner commentary in the Nasir-i Khusraw’s poetic works. Being the outstanding religious philosopher and Ismaili Teacher, he had reformed the artistic language of Persian Classic Poetry with the help of strategy of allegorical commentary ta’wil, which was firstly used only on the Quran’s text. He used the traditional form of qasida for didactic aim. Сonventional poetic motifs and standard beginnings served as the basis for creating allegories of varying degrees of complexity. The objects of this article are some examples of allegories based on traditional poetic motifs and standard beginnings of Nasir-i Khusraw’s qasida, his interpretations of term ta’wil and author’s discourse upon form and meaning of Word. The article also deals with different kinds of inner commentary in Nasir-i Khusraw’s three spring qasida. The analysis shows that on the first stage of formation of mystic poetry’s language commentary, giving secret meaning of text was the sphere of author’s individual initiative. At the stage of fixing the created connotations in the canon, they become stable and to a lesser extent depended on the presence of the author’s commentary, thus the allegorical ambiguity of the text becomes the generally accepted norm.

The gothic genre in Latin American literature has been the object of fashionable interest in recent decades and seems to absorb all the elements of the politically correct agenda; however, in the current trend of absolute presentism that seems regular in the critics, it is not taken into account that there exists a previous tradition more or less connected with its European sources but in search of its own cultural character. I would like to comment on some specifically gothic novels published in Argentina between the 1980s and the 1990s, as well as a recent one by the prolific writer César Aira. Prins can be analyzed as an ambiguous culmination of the gothic tendency, as well as a symptom of the disorientation of a genre that threatens to become a label as broad as it is empty.