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One of the more intriguing developments within medieval Japanese literature is the incorporation into the teaching of waka poetry of the practices of initiation ceremonies and secret transmissions found in esoteric Buddhism. The main figure in this development was the obscure thirteenth-century poet Fujiwara Tameaki, grandson of the famous poet Fujiwara Teika and a priest in a tantric Buddhist sect. Tameaki's commentaries and teachings transformed secular texts such as the Tales of Ise and poetry anthologies such as the Kokin waka shu into complex allegories of Buddhist enlightenment. These commentaries were transmitted to his students during elaborate initiation ceremonies. In later periods, Tameaki's specific ideas fell out of vogue, but the habit of interpreting poetry allegorically continued.This book examines the contents of these commentaries as well as the qualities of the texts they addressed that lent themselves to an allegorical interpretation; the political, economic, and religious developments of the Kamakura period that encouraged the development of this method of interpretation; and the possible motives of the participants in this school of interpretation. Through analyses of six esoteric commentaries, Susan Blakeley Klein presents examples of this interpretive method and discusses its influence on subsequent texts, both elite and popular.

Update your living room with Allegory. Richly designed with a flowing organic form, Allegory comes upholstered in polyester fabric with tufted buttons and splayed black finish wood legs with caps. A soaring design with a plush foam padded seat cushion and fine stitching, Allegory is a perfect living room statement piece for modern eclectic, mid-century, and farmhouse dcors. Color: Light Gray.

An inspired art scarf, only at The Met. Bring the drama with this artful scarf featuring a fabulous tableau by the great Giovanni Battista Tiepolo (Italian, 1696-1770). Regarded as the first master of the Grand Manner-a style of painting then celebrated for its idealized, often Classical motifs-Tiepolo was arguably the most outstanding painter of 18th-century Europe. Allegory of the Planets and Continents (1752) ranks among his largest and most dazzling oil sketches, in which a radiant Apollo, the god of light, is set to launch on his daily course across the sky. The deities around Apollo symbolize the planets, while the allegorical figures on the cornice represent the "four continents," which included Europe, Africa, Asia, and America at the time. Tiepolo presented this preliminary sketch to the prince-bishop of Würzburg as his proposal for a palace fresco. The finished work is often considered Tiepolo's greatest achievement. Click

In the early 1140s, the Bavarian princess Bertha von Sulzbach arrived in Constantinople to marry the Byzantine emperor Manuel Komnenos. Wanting to learn more about her new homeland, the future empress Eirene commissioned the grammarian Ioannes Tzetzes to compose a version of the Iliad as an introduction to Greek literature and culture. He drafted a lengthy dodecasyllable poem in twenty-four books, reflecting the divisions of the Iliad, that combined summaries of the events of the siege of Troy with allegorical interpretations. To make the Iliad relevant to his Christian audience, Tzetzes reinterpreted the pagan gods from various allegorical perspectives. As historical allegory (or euhemerism), the gods are simply ancient kings erroneously deified by the pagan poet; as astrological allegory, they become planets whose position and movement affect human life; as moral allegory Athena represents wisdom, Aphrodite desire.As a didactic explanation of pagan ancient Greek culture to Orthodox Christians, the work is deeply rooted in the mid-twelfth-century circumstances of the cosmopolitan Comnenian court. As a critical reworking of the Iliad, it must also be seen as part of the millennia-long and increasingly global tradition of Homeric adaptation.

The Allegory of Love: A Study in Medieval Tradition (1936), by C. S. Lewis (ISBN 0192812203), is an influential exploration of the allegorical treatment of love in the Middle Ages and the Renaissance. In the first chapter, Lewis traces the development of the idea of courtly love from the Provençal troubadours to its full development in the works of Chrétien de Troyes.

What is modernity? Where are modernity's points of origin? Where are its boundaries? And what lies beyond those boundaries? Allegory and Enchantment explores these broad questions by considering the work of English writers at the threshold of modernity, and by considering, in particular, the cultural forms these writers want to leave behind. From the fourteenth to the seventeenth centuries, many English writers fashion themselves as engaged in breaking away from an array of old idols: magic, superstition, tradition, the sacramental, the medieval. Many of these writers persistently use metaphors of disenchantment, of awakening from a broken spell, to describe their self-consciously modern orientation toward a medieval past. And many of them associate that repudiated past with the dynamics and conventions of allegory. In the hands of the major English practitioners of allegorical narrative-William Langland, John Skelton, Edmund Spenser, and John Bunyan-allegory shows signs of strain and disintegration. The work of these writers seems to suggest a story of modern emergence in which medieval allegory, with its search for divine order in the material world, breaks down under the pressure of modern disenchantment. But these four early modern writers also make possible other understandings of modernity. Each of them turns to allegory as a central organizing principle for his most ambitious poetic projects. Each discovers in the ancient forms of allegory a vital, powerful instrument of disenchantment. Each of them, therefore, opens up surprising possibilities: that allegory and modernity are inescapably linked; that the story of modern emergence is much older than the early modern period; and that the things modernity has tried to repudiate-the old enchantments-are not as alien, or as absent, as they seem.

The Allegory of Love is a landmark study of a powerful and influential medieval conception. C. S. Lewis explores the sentiment called 'courtly love' and the allegorical method within which it developed in literature and thought, from its first flowering in eleventh-century Languedoc through to its transformation and gradual demise at the end of the sixteenth century. Lewis devotes particular attention to the major poems The Romance of the Rose and The Faerie Queene, and to poets including Chaucer, Gower and Thomas Usk.

The collected essays of Rudolf Wittkower. Wittkower deplored specialization. For him, it was the fact that art communicated experience which made it a rewarding study, and nothing fascinating him more than the way in which one culture picked up and transformed the images of another. This volume draws together fourteen essays written over a thirty-three-year period in which he ranges far and wide in search of these "migrating" symbols, trying to penetrate the meanings that artists have given them or that they have unconsciously conveyed. The essays - each with its original illustrations and notes - fall into two main groups. The first traces instances where oriental imagery has entered the art of the West - specifically the strange images of Eagle and Serpent, and the long catalogue of monsters which the ancient and medieval worlds took so completely for granted and which held meanings for them not always apparent to ourselves. The second looks at the sources of some favorite allegorical motifs of the Renaissance - Chance, Time, Resurrection, Patience, Death, Virtue, "Grammatica" - and shows how they keep their identity throughout revolutions of taste and style. One essay explores an intriguing byway of art history, the 15th century's claim to have rediscovered hieroglyphics. Another finds a consistency and purpose in El Greco's apparently mechanical repetition of the same gestures in painting after painting. Finally Professor Wittkower faces the basic question of why a picture - whether by Leonardo or a child of three - can mean anything at all.

Allegory is both a strategy for interpreting texts and a method for composing them. This book investigates the interplay between these interpretive and compositional traditions at critical points in their development. Jon Whitman analyzes a range of works in which the allegorical impulse develops, from the Stoic moral essay and the Roman mythological epic to the Neoplatonic exegetical treatise and the Christian spiritual encyclopedia. By examining important changes in approach to the logic of a text, the design of the world, and the organization of events, Whitman shows how the interpretive and poetic strategies of allegory increasingly overlap and broaden in scope in antiquity and the early Middle Ages. He explains how this interaction acquires an intensive form in the twelfth-century Cosmographia, which explicates the story of creation by devising allegorical characters to act out the narrative. Relating this early convergence of analytic and imaginative methods to broader critical concerns, Whitman shows how allegory constantly promotes the reassessment of its own formulations, a process that stimulates the complex allegorical movement of the late Middle Ages. Jon Whitman currently teaches English literature at the Hebrew University of Jerusalem.

Unread book in perfect condition.

Originally published by the Warburg Institute, London, 1939.

Indispensable to an understanding of Medieval and Renaissance texts and a topic of controversy for the Romantic poets, allegory remains a site for debate and controversy in the twenty-first-century. In this useful guide, Jeremy Tambling: presents a concise history of allegory, providing numerous examples from Medieval forms to the present day considers the relationship between allegory and symbolism analyses the use of allegory in modernist debate and deconstruction, looking at critics such as Walter Benjamin and Paul de Man provides a full glossary of technical terms and suggestions for further reading. Allegory offers an accessible, clear introduction to the history and use of this complex literary device. It is the ideal tool for all those seeking a greater understanding of texts that make use of allegory and of the significance of allegorical thinking to literature.

The only form of monumental artistic expression practiced from antiquity to the Enlightenment, allegory evolved to its fullest complexity in Dante's Commedia and Spenser's Faerie Queene. Drawing on a wide range of literary, visual, and critical works in the European tradition, Gordon Teskey provides both a literary history of allegory and a theoretical account of the genre which confronts fundamental questions about the violence inherent in cultural forms.Approaching allegory as the site of intense ideological struggle, Teskey argues that the desire to raise temporal experience to ever higher levels of abstraction cannot be realized fully but rather creates a "rift" that allegory attempts to conceal. After examining the emergence of allegorical violence from the gendered metaphors of classical idealism, Teskey describes its amplification when an essentially theological form of expression was politicized in the Renaissance by the introduction of the classical gods, a process leading to the replacement of allegory by political satire and cartoons. He explores the relationship between rhetorical voice and forms of indirect speech (such as irony) and investigates the corporeal emblematics of violence in authors as different as Machiavelli and Yeats. He considers the large organizing theories of culture, particularly those of Eliot and Frye, which take the place in the modern world of earlier allegorical visions. Concluding with a discussion of the Mutabilitie Cantos, Teskey describes Spenser's metaphysical allegory, which is deconstructed by its own invocation of genealogical struggle, as a prophetic vision and a form of warning.

Anyone who has ever said one thing and meant another has spoken in the mode of allegory. The allegorical expression of ideas pervades literature, art, music, religion, politics, business, and advertising. But how does allegory really work and how should we understand it? For more than forty years, Angus Fletcher's classic book has provided an answer that is still unsurpassed for its comprehensiveness, brilliance, and eloquence. With a preface by Harold Bloom and a substantial new afterword by the author, this edition reintroduces this essential text to a new generation of students and scholars of literature and art.Allegory puts forward a basic theory of allegory as a symbolic mode, shows how it expresses fundamental emotional and cognitive drives, and relates it to a wide variety of aesthetic devices. Revealing the immense richness of the allegorical tradition, the book demonstrates how allegory works in literature and art, as well as everyday speech, sales pitches, and religious and political appeals.In his new afterword, Fletcher documents the rise of a disturbing new type of allegory--allegory without ideas.

Plato’s Allegory of the Cave is one of the most elegant and important metaphors in Western philosophy. It is a dialogue between Plato's brother Glaucon and his mentor Socrates, narrated by the latter, in which Plato elucidates his Theory of Forms. This new edition of The Allegory of the Cave includes an image gallery.

Bahti shows how narrative or interpretive language produces historical meaning--and how this meaning is reached at the expense not only of the historical "facts" but also of the purported intent (or "storyline") of the narrative itself.

The description for this book, Allegory in Dante's Commedia, will be forthcoming.

Homer’s Iliad and Odyssey were central to the educational system of Byzantium, yet the religion and culture of the Homeric epics―even the ancient Greek language itself―had become almost unrecognizable to Byzantine Greek readers coming to the texts nearly two millennia later. The scholar, poet, and teacher John Tzetzes (ca. 1110–1180) joined the extensive tradition of interpreting Homer by producing his Allegories of the Iliad, dedicated to the foreign-born empress Eirene. Tzetzes later composed the Allegories of the Odyssey, a more advanced verse commentary, to explain Odysseus’s journey and the pagan gods and marvels he encountered. Through historical allegory, the gods become ancient kings deified by the pagan poet; through astrological interpretation, they become planets whose positions and movements affect human life; through moral allegory Athena represents wisdom, Aphrodite desire. This edition presents the first translation of the Allegories of the Odyssey into any language.

Examines the dynamic relationship between authority and gender in contemporary, experimental narrative works by four Latin American women writers: Diamela Eltit of Chile, Nelida Pinon of Brazil, Reina Roffe of Argentina, and Cristina Peri Rossi of Uruguay.At the nexus of politics and sexuality, Allegories of Transgression and Transformation examines how women's writing produced in the wake of authoritarian regimes in several South American countries simultaneously challenges both the effects of dictatorship and restrictive gender codes. The author examines the experimental fictions of four contemporary Latin American writers: Diamela Eltit of Chile, Nelida Pinon of Brazil, Reina Roffe of Argentina, and Cristina Peri Rossi of Uruguay. Tierney-Tello begins her study by exploring the particular relationships among authoritarian political oppression, restrictive gender codes, and the practice of writing. Then, through close readings that draw on feminist, psychoanalytic, and socio-political literary theories, she shows how each of the selected narratives illustrates different aspects of the effects of dictatorship, while also striving to develop new means of articulating gender and feminine sexuality. Throughout, Allegories of Transgression and Transformation suggests how the use of allegory allows these texts to question socio-political, genderic, and textual forms of authority and to trace an/other story.

Love is the commonest these of serious imaginative literature and is still generally regarded as anble and ennbling passion. Love has not always taken such precedence, however, and it was in fact not until the eleventh century that French poets first began to express the romantic species of passion which English peots were still writing about in the nineteenth century. This book is intended for students of medieval literature from A-level upwards. Anyone interested in the `Courtly Love' tradition. Fans of C.S. Lewis's writings.