Biblical Allusions Research Articles

On Female-Shamed Subjectivity in Christina Rossetti’s “Goblin Market”

ABSTRACT Christina Rossetti’s “Goblin Market” has received considerable attention largely due to the interpreting of its biblical allusion and female issues, including female subjectivity and sisterhood. However, these studies tend to focus on female issues in terms of theology, feminism, and psychoanalysis. Few studies have investigated the relationship between emotions and female identity. Shame is a paramount emotion in Rossetti’s work. This article examines how shame exerts a great influence on female subjectivity in Rossetti’s “Goblin Market” by applying Gershen Kaufman’s theory on the psychology of shame. It first investigates how Laura’s “disgrace shame” and Lizzie’s “discretion shame” dynamically determine the development of their self-identity. Focusing on the psychotherapeutic process of their shame, it then explores how Laura and Lizzie restore their sisterhood and find ways to reconstruct their shamed subjectivity. Finally, this article concludes that the shame tied to the consciousness of subjectivity in Rossetti’s heroines further reflects how shame underlies women’s writing in the Victorian era. By placing “Goblin Market” in dialogue with Kaufman’s account of shame’s capacity to forge self-identity, this article hopes to inspire more discussion about female issues in poetry in terms of affect studies.

An intertextual reading of the novel Defend the Name.

The general objective of this intertextual analysis's was to explore Wolde's novel Defend the Name (1969) with the view to identify and interpret the several thematic and stylistic intertexts that are woven throughout the narrative. Based on available research, there is a scarcity of critical studies that have utilized the theory of intertextuality for the analysis and interpretation of Ethiopian prose fiction in English, particularly within the novel genre. The current study was aimed to partially fill in this critical gap. In doing so, the theory of intertextuality is employed as theoretical-analytical framework of the study. The findings of this intertextual analysis concentrated on the thematic and stylistic intertexts that were woven throughout the plot of the book Defend the Name. These intertexts included biblical allusions, colonial literary devices, contemporary theoretical and ideological works, and cultural and historical discourses that the book intertextually engages with in addition to other literary and nonliterary works. This study provides insightful information about the thematic diversity of Defend the Name and its involvement with multiple intertexts through its intertextual analysis. It enhances the reader's comprehension of the story, characters, and larger sociopolitical situations that the novel addresses, demonstrating the author's skill in fusing together a variety of literary, scriptural, ideological, and cultural aspects.

The Land without Promise: The Roots and Afterlife of One Biblical Allusion

The Land without Promise: The Roots and Afterlife of One Biblical Allusion

Rhetorical Strategies and Appraisal Markers in Online Civic Engagement of the Yoruba Nation Secessionist Agitation on Nairaland

This study examines rhetorical strategies and appraisal markers in the engagement of the Yoruba Nation (YN) secessionist agitation in Nairaland. Adopting the appraisal framework and Fairclough’s notions of intertextuality and interdiscursivity as a theoretical anchorage, analysis unveils historical and biblical allusion, proverbs and adages, rhetorical questions, code alternation and pidgin as prominent rhetorical practices and intertextual and interdiscursive resources that index cognitive positioning and ideological evaluations of the agitation and related social actors. While the anti-YN participants express negativity and ideological dissociation from the secessionist course, the pro-YN participants express positivity, solidarity and ideological alignment with the separatist agitation. As the secessionist movement generates concerns about ethnic synergy and national integration, participants take advantage of a heterogeneous virtual space to influence other online participants’ ideological positions on whether to sustain patriotic spirit to strive continually towards Nigeria’s nationhood or to join the vociferous call for the nation’s geo-ethnic dismemberment and ultimately secession.

The American Haskalah: Sanctifying Education in Mary Antin’s The Promised Land, Abraham Cahan’s The Rise of David Levinsky, and Anzia Yezierska’s Bread Givers

Abstract Much has been written about European Jews’ attitudes toward secular studies. The Jewish Enlightenment, which began in Europe in the early eighteenth century, caused some Jews to broaden their knowledge by learning subjects such as geography and science. However, most Eastern European Jews remained loyal to the rabbinical authority. When many immigrated to the United States during the Progressive Era, they had to choose between maintaining the old approach toward secular education and learning secular subjects. Analyzing three Jewish immigrant texts, Mary Antin’s The Promised Land (1912), Abraham Levinsky’s The Rise of David Levinsky (1917), and Anzia Yezierska’s Bread Givers (1925), this essay argues that these books present Eastern European Jewish immigrants as treating secular education similar to the European maskilim. Exploring Biblical allusions and imagery used to portray Torah learning, this paper determines that these texts sanctify nonreligious studies. Following a centuries-old heritage of learning, they glorify the knowledge obtained in American institutions. Although the protagonists feel they are betraying their tradition, they participate in establishing a Jewish American culture based on the value of studying. While these texts often praise American education, they portray a clash between American and traditional Jewish education, suggesting that disavowing one’s traditional education is challenging.

Paradise lost: A classical epi

John Milton's "Paradise Lost" stands as a monumental work in the canon of English literature, embodying the classical epic tradition with its grand scope, profound themes, and poetic mastery. This abstract delves into the quintessential characteristics that classify "Paradise Lost" as a classical epic. The narrative unfolds against the cosmic backdrop of Heaven, Hell, and Earth, exploring the consequences of Adam and Eve's disobedience and their subsequent expulsion from the idyllic Garden of Eden. Milton weaves a tapestry of theological inquiry, grappling with the complexities of free will, theodicy, and the nature of God. The poem introduces a heroic protagonist in Adam, whose choices shape the destiny of humanity. Divine intervention, epic battles, and supernatural elements contribute to the poem's grandeur, while Milton's elevated language and incorporation of classical and biblical allusions elevate it to the status of an enduring masterpiece. "Paradise Lost" serves not only as an epic retelling of the biblical Fall but also as a didactic exploration of moral and spiritual themes, making it a timeless work that continues to captivate readers and scholars alike.

Allusions and Omissions in Augustine’s Confessions

This paper discusses possible biblical allusions and omissions in Augustine’s Confessions, arguing that the themes he presents can be understood with greater nuance if viewed in light of not only the scriptural passages he chooses to support them but also the verses from the immediate context, which he omits. The paper will examine four examples from within the Confessions: the way that in the Confessions but not elsewhere, he only utilizes the second half of James 1:17, eliding the phrase ‘Father of lights,’ his use of the term unam for his concubine, his depiction of his mother Monnica like the apostle Paul, and possible reasons for his elision of portions of the prologue to John. As a result, this paper has offered four possible instances of Augustine omitting, or only allusively referring to, specific scriptures throughout the Confessions: his omission of God as the Father of lights when referencing James 1, his allusion to the una columba of the Canticle of Canticles in describing his concubine, his undertone of Pauline episodes in recounting the tale of Monnica's arrival in Rome, and finally his omission of John the Baptist from It has been suggested that, in each of these cases, a deeper grasp of the parts of the Bible that Augustine has left out can help us comprehend the major arguments that he has made in more depth.

Rider of the Black Horse

This article explores the actions and ideology of the Russian revolutionary and terrorist Boris Savinkov through his final novel, The Black Horse. I argue that the book represents its author's attempt to come to terms with a world in which he feels politically homeless with the victory of his enemy, the Bolsheviks. Savinkov reckons with his fate through the liberal use of Biblical allusions and apocalyptic imagery.

„Chusta wiecznie zielona”. Pieta Teresy Ferenc. Studium wierszy

The article attempts to interpret several of Teresa Ferenc’s poems included in the volume Pieta, published in 1981. The selected works combine the motifs of home, mother and the girl who is the author’s porte-parole. Written from the perspective of the trauma experienced in childhood: the burning of the family village and the death of her parents, we find numerous biblical allusions and cultural contexts, the explanation of which is the subject of this study. An attempt has been made to demonstrate the richness of the poetic imagery, the source of which can be traced back to extreme experiences.

And There Were the Plitvice Lakes. The Landscapes of the Croatian Lake District in the Romantic Journey Put na Plitvice

Put na Plitvice (The Road to Plitvice, 1860) is the first of the travelogue in Croatian language describing an expedition to the Croatian Lake District. The work of art is of significant “world-creating” and “culture-creating” value, introducing the Plitvice Lakes into the Croatian national text and into the national landscape, hence the biblical allusion in the title. It will therefore be a world-creating narrative, of bringing into existence and therefore giving a symbolic dimension of the work of art.I focus on the landscape-painting aspects of the text, understanding landscape as the manner of constructing and formulating the world, as a way of perceiving and incorporating it into cultural traditions. It is therefore rough, monumental, wild like a traversed space, which should be included in the category of picturesque and sublimity. Veber’s representation of nature illustrates how it was seen at the time within the framework of the national-revival programmes

ТВОРЧЕСКАЯ РЕЦЕПЦИЯ БИБЛЕЙСКИХ МИФОВ В РУСКОЯЗЫЧНОЙ ПРОЗЕ Б. ЧИПЧИКОВА

The purpose of this article is to look at the theosophical issues that are significant in modern reali-ties considering examples of adaptation and qualitative reconstruction of religious plots, biblical mythologies, fragments from the scriptures in the works of the Russian-speaking author B. Chip-chikov. This project seeks to identify antecedent religious inserts, quotations, and reminiscences in the works of the Balkarian prose writer. The research focuses on the semantics of biblical allu-sions, intertextual discourse, forms of figurative reflection on the world through mythotheo-logems. In the course of the analysis, the hidden meanings of the literary text, the ideological con-tent of stories and short stories in the aspect of the sacred meanings inherent in them are revealed, the philosophical and symbolic images are deciphered from the point of view of their semiotic status, the subtext rolled up in them is read. The primary goal of the research is to determine the specifics of the writer’s individual perspective, as well as to define the ideological and creative foundations of his works. We attempted to describe the author’s anthropology’s humanistic es-sence, which consists in the proclamation of notions such as personal self-improvement, the value of human existence, the necessity of spiritual vision, intuitive feeling, rethinking the divine de-sign, and many other related themes. The author’s intentionality and receptive aesthetics enable us to model a conditional picture of the world, artistically embodied in all of its contextual expres-sions.

A Critical Study of the Myths, Classical References and Allusions in the T. S. Eliot's' the Waste Land

Abstract:- The present paper sought to analyze myths, allusions and classical references used by T. S. Eliot in his magnus opus poem ‘The Waste Land’. A poem contains symbolic representation of myths, classical references and allusions. The study concentrates on the poet’s attitude towards the contemporary society. He justifies his uneasiness by giving the passing references from classical literatures. A study pinpoints the cultural and social decadences depicted by the poet by presenting the major classical personas and the symbolic events from the great classics. A poem depicts the spiritual deadness and barreness on the glorious land of England. To express his views on the spiritual deadness of the land; he gives classical references and allusions to depict the contemporary situation of the land. Every reference stand symbolic. It presents the loss of spiritual aspects of the glorious land. He uses farfetched classical references and biblical allusions to depict the contemporary perturbance. It is critical commentary on the chaotic situation of the contemporary society. The classical references and allusions used here are very apt and convincing. Eliot has brought it poignantly. The present study is confined with only critical study of allusions, references and symbolic perspectives used by Eliot in his poem, ‘The Waste Land’.

O aluzji biblijnej w "Faraonie" Bolesława Prusa

The article is devoted to the role of a biblical allusion in Faraon by Bolesław Prus. The names of characters (Sara, Gedeon), which refer the text ofthe novel to the Book of Genesis and the Book of Judges, are allusive. Moreover, references to Moses and Isaac are made in the text, as well as – a few times – to the Book of Kohelet. A unique feature of Bolesław Prus’s novel is that although it talks about the history of ancient Egypt, it treats the Bible as an outright historical source. The result of such an attitude is that the events described in the Old Testament (non‑existent in the descriptions by the historians of Egypt) become an element of the world presented in Prus’s work. The reason for that is the willingness to show that the problems of the fictional world are, to a certain extent, caused by an inappropriate perception of spiritual matters.

BIBLICAL METAPHORS IN LEONARD COHEN’S SONG LYRICS

This article delves into Leonard Cohen’s use of biblical metaphors, particularly in his song “Hallelujah”. Authored by Dr. Irina Biskub and student Valentyna Tsap from Uzhhorod National University, the study focuses on Cohen’s biography, emphasizing the impact of his love life, religious imagery, and biblical references on his creativity.
 The scientific problem addressed centres on interpreting metaphors in Cohen’s songs, aiming to unveil the intricate tapestry of metaphorical language and deepen understanding of themes like love, redemption, and despair. The research contributes to musical analysis, literature, cultural studies, and theology, fostering interdisciplinary discourse on the convergence of art and spirituality.
 Referencing previous studies exploring Cohen’s use of biblical metaphors, the article distinguishes itself with a profound analysis, emphasizing the importance of metaphors in understanding various facets of Cohen’s work. The authors explore Cohen’s complex love life, highlighting its impact on his music and writing, drawing inspiration from personal experiences.
 The article provides an overview of Cohen’s musical career, emphasizing introspective themes resonating with a dedicated fan base. Cohen’s live performances, known for intimacy and emotional depth, contributed to his legendary status in the music industry.
 The central focus is on Cohen’s “Hallelujah”, analyzing its thematic depth and biblical references. The article explores the song’s historical context, drawing parallels to the Jewish experience and Cohen’s personal struggles with faith. It questions whether “Hallelujah” can be considered a Christian song, considering Cohen’s Jewish background. The analysis suggests that, despite biblical allusions, Cohen’s lyrics may not align strictly with a Christian interpretation.
 Concluding, the article summarizes Cohen’s significant contributions to music and literature, emphasizing the enduring impact on new generations. It calls for further research into the intricate use of biblical motifs in Cohen’s songwriting, exploring implications for understanding spirituality, love, and the human experience in his creative legacy. The text is now condensed to 214 words.

THE MYTHOLOGICAL SPACE OF GOOD AND EVIL IN “THE YELLOW PRINCE” BY VASYL BARKA

To analyze the representation of the Holodomor in Vasyl Barka’s novel “The Yellow Prince”, it is beneficial to draw upon the concepts of artistic universes and mythological studies. In particular, Franz Boas’s notion of mythological universes as source material for the creation of new universes can provide valuable insights. Based on this concept, the apocalyptic motifs of the novel “The Yellow Prince” might be considered a unique author’s attempt to interpret the traumatic experience of the Holodomor. In this case, the biblical eschatology serves as the key to understanding the entire scale of the tragedy and the essence of the crime against the Ukrainian people.
 After analyzing the structure of the novel, drawing parallels with biblical motifs and codes, and noting the most prominent biblical allusions, it becomes evident that the writer constructs his own apocalyptic model of the world, which shows no specific Comings of the Antichrist and Christ as they both are presented collectively. The writer’s dichotomy between the ‘sacred’ and the ‘profane’ contrasts the harmonious, traditional Ukrainian village with the godless Bolshevik regime. The first mode, embodied by the Katrannyk family, functions around the church as a sacred center and a treasury of Christian values. Therefore the process of collectivization and the destruction of the temple disrupts its organic existence, leading to death. Those who strive to preserve their right for the sacred must be prepared to fight, even at the cost of their lives.
 Both the church Chalice-Grail and the martyred peasants represent the collective Christ. The source of evil, in its turn, lies within the hierarchical system of the Bolshevik forces of evil. This system ranges from the symbolic image of the Yellow Prince as a collective Antichrist to radical evil embodied by demonized and dehumanized representatives of the Soviet government and banal evil manifesting itself in unconscious peasants who, due to a lack of understanding, also become accomplices in the crimes. Thus, the evil appears in the novel as a series of negative and demonic images embodied in characters, symbols, and details existing at various hierarchical levels. All these elements serve as a comprehensive representation of the profane.

Further New Perspectives on Dostoevsky: ‘Winter Notes on Summer Impressions’. An Intermedial Approach to Dostoevsky’s London Visit

Abstract The article examines F. M. Dostoevsky’s visit to London in the summer of 1862, in the course of his first trip abroad, which resulted in the writing of Winter Notes on Summer Impressions. A Summer-Long Feuilleton. The task to untangle the impact of numerous impressions on Dostoevsky’s creative process is initiated and the newly arisen circumstances that he encountered on his return to St. Petersburg highlighted. Winter Notes is viewed as a groundbreaking work in Dostoevsky’s canon that contains the seeds of future great works, though not primarily in accordance with the multiple ideologically based readings that have sought to define it. Instead Winter Notes is recognised for its author’s aesthetic explorations into poetics within the confines of Tsarist censorship which required that ‘Official Nationality’, the imperial ideological doctrine be upheld. Dostoevsky’s visit to the 1862 International Exhibition and its art galleries is addressed for the first time on the basis of his brother Mikhail’s letters and other evidence. The exhibition building and the works of William Hogarth, John Martin and J.M.W.Turner are singled out. Their imprint on Dostoevsky’s feuilleton is observed through the stages of impressions gained via intermedial interplay. It affirms that pre-existing notions in the ‘discourse of Englishness’ were absorbed and reinvented by Dostoevsky with the use of figurative language, clarifying the origin of metaphors used in the text, together with literary and biblical allusions. A list of Russian and British artists exhibiting in the International Exhibition of 1862 is included.

Biblical Allusion As the Important Aspect of Intertextuality and Its Transformation in the Georgian Language (According to D.H. Lawrence’s „England, My England’’)

Biblical Allusion As the Important Aspect of Intertextuality and Its Transformation in the Georgian Language (According to D.H. Lawrence’s „England, My England’’)

Abolitionist Visions and the Spectre of Enthusiasm

By modern definitions, an “enthusiast” is a fan, but, in the eighteenth century, an enthusiast was a fanatic, and the word’s associations with religious heterodoxy made it a devastating weapon in the political arena. Critics often used this pejorative rhetoric to target anti-slavery activists. The charge of enthusiasm, while accurate in recognizing abolitionists’ energetic vision, helped detractors mischaracterize the movement as dangerously zealous. This essay takes as a case study Richard Newton’s 1792 sketch The Blind Enthusiast, which caricatures prominent abolitionist William Wilberforce as an easily fooled fanatic. Biblical allusions show Newton’s debt to religious rhetoric, while political catchwords invoke key debates of the 1790s. The stereotype does not remain in the past, however. As this essay argues, the notion of the enthusiastic abolitionist troubles activism in the twenty-first century, too, impeding efforts toward more equitable futures.

«СЛЕДСТВИЕ ВЕДУТ (НЕ-)ЗНАТОКИ». ПРИМЕРЫ СОЗДАНИЯ ТРЕВОГИ И СТРАХА В ДЕТЕКТИВНОМ СЕРИАЛЕ

This paper briefly discusses the psychological and philosophical issue of anxiety and fear in a non-canonical piece of pop culture – detective series “Lucifer”. On the stated topic, this show attracts attention, firstly, because it contains the problematization of various spiritual experiences, and secondly, it raises deep questions related to the search for the meaning of existence and being in terms of rethinking biblical allusions and images. In addition, the series can be analyzed from the point of view of the “psychology of art” (Lev Vygotsky), both because of the feeling of catharsis caused and the “affects of expectation” (see Ernst Bloch), especially in the season 5. Therefore, in it is possible to study the manifestation forms of anxiety and fear. These direct and indirect signs of the expression of open and hidden human experiences are verbalized and visualized by cinema in various ways: words, gestures, actions, behavior of heroes, etc. The author of the paper refers to them not on the example of thrillers (anxiety) and horror films (fear), but a series consisting of many series, because this can reveal a longer anxiety state and show the difference between fear and anxiety at the levels of thematization and realization.

Neidorf, Leonard. 2022. The Art and Thought of the Beowulf Poet. Ithaca, NY: Cornell University Press, 216 pp., $ 36.95.

Abstract This article presents an in-depth analysis of “Against a Wen”, a poetic charm from twelfth-century England that personifies, banishes, and annihilates a skin blemish. The study begins with a brief overview of the text’s linguistic features and then proceeds to discuss the charm in distinct sections. Each of these concentrates on the contextualisation of a specific passage. The article assembles analogues from previous research and also offers several novel parallels from a diverse range of incantations, Scandinavian sources, medieval medical texts, and the Old and New Testament. Combining these parallels not only helps clarify obscure passages in “Against a Wen” but also sheds additional light on the composition’s background. Specifically, unveiling the charm’s intertextual connections allows pointing out that “Against a Wen” incorporates riddling and bilingual wordplay, as well as biblical allusions. These findings challenge the long-held perception of the composition as vernacular and provide insight into the literary devices and healing strategies found in early medieval verse charms.