Use Of Allusion Research Articles

“The delights of intellectual vagrancy, of the improvised chase after a fleeting allusion”: Edith Wharton’s A Son at the Front

Abstract A Son at the Front was an underrated novel at the time of publication and consigned to the margins of World War I literature for many years. A number of contemporary reviewers failed to appreciate the depth of the novel, particularly with regard to Wharton’s complex use of allusions, and faulted it for being out of touch with modern fiction and being published at the wrong time. The years covered by the narrative had been consigned to history and events that had overtaken the period of American neutrality for those who sought retreat into isolationism. Memorialization of those who had fought and died in the war was, however, very much an ongoing process, particularly in the public erection of monuments among participant countries, and they have remained to this day the sites for public ceremonies of commemoration. This article focuses on Wharton’s reference to a knight’s effigy, Luca Signorelli, and a painting of the Inquisition attributed to Juan de Borgoña, to the Christian iconography of medieval and early Renaissance art, as a way of understanding how her novel probed the contestation over how to memorialize the death of soldiers in World War I amid a polarized response to American involvement.

‘From hunter to hunted’: (temporary) marginalisation in Muslim men’s memories of the allied occupation period in Turkey (1918–1922)

ABSTRACT In this article, I study memories of the Allied occupation of Maraş, Mersin and İzmir that were published in local newspapers between the 1920s and 1960s. The narratives were published when Muslims had re-gained political hegemony and forced both the occupying armies and most local non-Muslims to leave the country for good. The texts I use were published in the dailies Sebilürrreşad in 1921 (in Istanbul), in Ahenk in 1926, in Ege Ekspres in 1958 (both in İzmir), and in the late 1960s in Kuvayi Milliye, a monthly veterans’ magazine published in Mersin. Their authors were ordinary insofar as they were relatively low ranking clerks, former reserve officers, and readers of the İzmir papers. As literate Muslim males able to pen their own memories, however, they certainly held a certain degree of privilege over less educated and illiterate people, women and non-Muslims. In order to analyse their narratives, I use concepts developed by Maurice Halbwachs [Halbwachs, M., 1992 (1939) On Collective Memory: Edited, Translated, and with an Introduction by Lewis A. Coser. Chicago: University of Chicago Press, collective memory] and Jan and Aleida Assmann [Assmann, A., and Assmann, J. 1994. Das Gestern im heute. Medien und soziales Gedächtnis. In: K. Merten, S. J. Schmidt and S. Weischenberg, eds. Die Wirklichkeit der Medien: Eine Einführung in die Kommunikationswissenschaft. Wiesbaden: VS Verlag für Sozialwissenschaften, 114–140.]. The loss of Ottoman sovereignty also brought about that of Muslim supremacy, which privileged Ottoman Muslims experienced as a massive threat for themselves. As I show throughout, all the stories recount experiences of humiliation and distress that resulted from the reversal of social roles under occupation: Being Muslim was no longer an advantage or even a privilege: the privileged had become ordinary. Memory was gradually securalised, and the use of allusions facilitated forgetting.

#Blessed

This article explores the creative use of allusion as a literary device in the description of transactional sex relationships in the following selected literary texts; The Blessed Girl by Angela Makholwa (2018), Bare: #The Blesser Game by Jackie Phamotse (2017) and The Y in yOUR Man is Silent: Book 1 by Yvonne Maphosa (2019). The discovery of the dearth of literature on the portrayal of transactional sex relationships in fiction catalysed this article. Thus this article sought to explore the diverse creative ways in which allusion is employed to describe the relatively new phenomenon of transactional sex relationships. In this article, a qualitative desktop literary analysis was the methodology of choice. The article employed the critical lens of Lipstick Feminism which advances the use of make-up and sexual appeal as an empowerment tool for women without regarding how it sustains the commodification of transactional sex relationships. The significant finding of the study was that the creative use of allusion was crucial as they exemplify the blessee's lifestyle. The brand names are significant in shaping the blessee's archetype and image. In conclusion, allusion was effectively used in the selected works of fiction to describe the new phenomenon of transactional sex relationships.

Chinese-English Interpreting Strategies from the Perspective of Communicative Translation Theory : A Case Study of Xi Jinping’s Opening Speeches at the Belt and Road Forums

Since the launch of the Belt and Road Initiative, China has been enhancing its international collaborations and expanding its global influence. This paper examines President Xi Jinping’s opening speeches at the Belt and Road Forum, highlighting the linguistic features and discussing effective interpreting strategies based on communicative translation theory. A qualitative method is employed to explain Xi’s use of allusions and colloquialisms. It is found that effective communication strategies in interpreting from Chinese to English require careful consideration at lexical, syntactic, and discourse levels. Specifically, it suggests modifying fragmented sentence structures to align with English expressions and enhancing discourse coherence through techniques such as repetition and conjunctions. As such, it is hoped to provide interpreters with practical insights for navigating challenges in interpreting activities.

Evolution of Poetic Composition Theories from Shilin Shihua to Chengzhai Shihua

Ye Mengde, a well-known Chinese poet and poetry critic in the Song Dynasty, advocated the concept of implicit naturalness in his work, Shilin Shihua (Shilin’s Remarks on Poetry). He emphasized that the use of allusions in poetic composition should not be far-fetched and demanded that words and sentences be refined and hammered. Based on Ye’s insights, Yang Wanli, another famous Chinese poet in the Southern Song Dynasty, further developed the theory. In Chengzhai Shihua (Chengzhai’s Remarks on Poetry), he proposed that the essence of poetry lies in “poems being concluded while the taste remains eternal,” paid attention to the skillful integration of idioms and allusions, advocated the importance of creating “stunning verses” in writing poetry, and practiced what he preached by actively engaging in poetic composition. He shattered the traditional conventions of the late Jiangxi School of Poetry, created the unique “Chengzhai Style” characterized by freshness and liveliness, and injected a vibrant “poetic taste” into poetry, enhancing the role of poetic composition theory in guiding poetry creation practices.

A Preliminary Study on the Use of Allusions in Jin Dynasty—Taking Historical Figures as an Example

A Preliminary Study on the Use of Allusions in Jin Dynasty—Taking Historical Figures as an Example

The Use of Allusion: A Study in Selected Poems and Poets of The Renaissance Age

The Use of Allusion: A Study in Selected Poems and Poets of The Renaissance Age

Survival or Revival?: C.S. Lewis's Medievalism in The Lion, the Witch and the Wardrobe

C.S. Lewis's The Lion, the Witch and the Wardrobe has often been considered overly eclectic in its use of mythologies and literary sources. This essay argues that the unity of the story is not impaired by frequent allusions to previous texts but is grounded in Lewis's particular brand of medievalism, which encourages a playful renewal of medieval romance, not least by means of a rewriting of authors such as Thomas Malory. Lewis's use of allusion and pastiche help explain many of his artistic choices, from the characterization of the White Witch to the archaic language in the Hunt for the White Stag. The essay uncovers several important, unrecognized allusions and demonstrates that Lewis's use of his medieval source material is not only humorous but also purposeful and culturally relevant.

Analisis intertekstual Roma 9:33 Suatu Pendekatan Memori Semantik Pada Teologi Paulus

Romans 9:33 is known as a very complicated verse with Old Testament intertextual quotations from Isaiah 8:14 and 28:16 in splits and crosses. The use of allusions as key words such as "Zion" and "stone" requires analytical methods and specific rules so as not to be biased in semantic interpretation. Even the change of “disturbed” (Isa 28:16 KJV) to “be ashamed” (Rom 9:33 KJV) has meaning. The inerrancy of the Scriptures can be questioned if it is called just a variation or a scribal error, because there is no scribal doubtness in the textual critics. The research aims to prove Paul's historical canonical semantic intertextual writing technique in Romans 9:33 as a key verse explaining theology justified by faith to the Roman plural congregation. Qualitative research through canonical intertextual analysis is carried out using a semantic historical memory approach through multidisciplinary discourses such as cognitive psychology and architectural archeology. The results of the study show that Romans 9:33 was written using the synchronic multiple contexts semantic memory method which is capable of explaining with precision the theology justified by faith, both to the Jewish and non-Jewish congregations in Rome. The result in this study also provides new afirmation of the dynamics of intertextuality poststructuralism in a canonical context for modern hermeneutics.

The Use of Allusion in Tonga Work Songs: Its Social and Economic Implication

This article sets out to examine the use of allusion in selected Tonga work songs. Whereas there is extensive and impressive documentation about the Tonga people and their culture, their history, and even their literature, by authors like Elizabeth Colson, there is hardly any documentation on the use of allusion and its social implications in Tonga work songs. Therefore, this study gives utter attention to one poetic element – the allusion, in the Tonga work songs and argues that allusion reflects the Tonga people’s social and economic activities through work songs. The study mainly used the qualitative method to collect data from respondents. This article is a brain child of research work which was conducted in two ways namely, through desk research and field research in three districts of Southern Province in Zambia. A total of 35 work songs were collected through interview guide, questionnaires, and Focus Group Discussions. The study revealed that Tonga work songs help lighten the work, comment on perpetual unpalatable social tendencies, communicate values of hard work, social cohesion, and objectives and share memories of the past other than culture transmission to the young generation. The study also revealed that Tonga Work songs are rich in Poetic elements such as allusion that inculcate a sense of self-responsibility among others. The study further reveals that allusion in Tonga work songs reflects Tonga people’s past and their agricultural inclination, a reflection of Tonga’s main economic activity. What comes out of this study also is that there are hardly any allusions to Tonga’s paramountcy of chiefs like in other tribes in southern Africa.

Allusions in Wole Soyinka’s A Dance of the Forests and Kongi’s Harvest

This study deals with Wole Soyinka’s two plays, A Dance of the Forests and Kongi’s Harvest with the aim is to show the use of allusions in the depiction of the glory and the decline of the African past. The two plays, from the same literary tradition enables us to explore Nigerian viewpoints of ancient and recent history. By appropriating the discussions of Gerard Genette, Michael Leddy, William Irwin, John Campbell and Allan Pasco on the use of allusion in literature, we argue that when the author refers to history in his works, he employs allusions to affirm or oppose certain notions. Wole Soyinka alludes to history to affirm the the glory of the African past and also to oppose to some of the other facts that prove the collapse of the African empires. Both plays implicitly utilise the glory and the collapse of African empires but each one employs these incidents according to the viewpoint and cultural background of its author. Hence, the different employment of history reveals contestations of worldviews which are symptomatic of the ideological clashes between the Africans among themselves, and the Europeans.

"В ожидании парома" Д. В. Григоровича: рефлексия и нарратив

The article analyses the essay “Waiting for the Passage-Boat” (1857) by the Russian writer and publicist Dmitry Vasilyevich Grigorovich. The essay was published in the magazine Sovremennik (“Contemporary”), and its publication seemed to draw a line under the discussion of the slaver and serfdom question in Russian magazines. Grigorovich’s prose played a role in this discussion. Grigorovich was one of the first writers of Russian realism (the so-called “natural school”) and tried to move away from the theatre vaudeville and sentimental images of Russian peasants in his novellas The Village and Anton-Goremyka. His subsequent texts on peasant themes, written during the “gloomy seven years”, varied the source material, sometimes showing a movement towards melodrama. The article offers a variant of a narratological and hermeneutic reading of the essay in the aspect of reflection and narration. In the author’s opinion, Grigorovich demonstrates the exhaustion of the peasant theme in literature, using the technique of multiple storytelling (from Hoffmann’s Serapion Brothers or Odoevsky’s Russian Nights). This becomes most obvious at that moment of the narrative, when the “right to voice” passes to casual interlocutors, while the narrator, correlated with the writer, loses this right. He is not recognized as the author of stories in his environment and takes the passive role of a listener. The use of allusions, remeniscences (from Karamzin, Radishchev, Mérimée, de Prevost), and autoquotation creates “noise” in the communication channel, making it difficult to perceive these stories as “bitter truth” (Stendhal), at the same time convincing the reader of the impossibility of finding an adequate description language for peasant everyday life. In this regard, Grigorovich’s position coincides with that of Honore de Balzac in the introduction to his Les Paysans or of Pavel Annenkov that was declared in his main article: you can expect a lot of pleasure from the expression in art of the course of common life, many pictures, original faces, excellent descriptions, but hardly real knowledge of this course as a subject for discussion and conclusion. Yet many of the writers and a very large number of readers have in mind this latter goal; but it is the same as judging about the height of the people who built the Egyptian pyramid by the pyramid’s height. This epistemological impossibility is illustrated in Grigorovich’s essay: the nobles and the peasant world exist in parallel. Thus, interlocutors do not feel empathy, and the purpose of conversation is not to change reality, but to spend time. Thus, the conversation of the nobles can be correlated with the Socratic dialogue, in which the possibility of the maieutic acquisition of truth is not realized due to the failure of communication. The arrival of the passage-boat demonstrates the inconsistency and exhaustion of conversations about people’s happiness, becomes a marker of such a failure. The article is illustrated with fragments of critical articles and epistolary works by Grigorovich. whose 200th anniversary inspires researchers to search for the latest interpretations and update the ways of reading the writer’s texts. Results and observations that are presented in the article can be used in teaching the history of 19th-century Russian literature.

Shakespeare around the Globe: A Comparative Study of Selected Plays and Adaptations

William Shakespeare, a genius allures the enthusiasm of the public towards him and his works due to his inevitable witty statements, remarkable use of rhetoric, knotted syntax, deep insight into men’s and women’s world, understanding of human psychology, the vision of the surroundings to give multiplicity to his views and his use of allusions from past and present. It seems all the world issues are profoundly collected in his writings to consider him a universal iconic figure. Moreover, his works also reflect his self-assurance in art, and he exploits readers’ senses of the artifice of the theatre presentations and of stage acting where the role of imagination is recognized as sublime. His works have also been appropriated and adapted according to the moral and cultural concerns of the people of Pakistan and other regions. This work through the comparative method probes Shakespeare in Pakistan and other regions through his works’ adaptations and translations in different times to highlight how adaptations from time to time retain or manipulate written material/reality, and how Shakespeare has been made relevant in the context of diverse regions.

EVELYN WAUGH’S NOVEL “BRIDESHEAD REVISITED” FROM THE VIEWPOINT OF THE GAY THEORY

The article is examining the novel “Brideshead Revisited” by Evelyn Waugh and the depiction of the identity of homosexualism in it. By analysing the novel “Brideshead Revisited” the author has applied the gay theory, a theory of culture and literature of the second half of the 20th century that alongside with the theory of feminism turned against the stereotypes of patriarchal culture. The novel “Brideshead Revisited” demonstrates hints about the homo- erotical bonds between the twomain characters. Although these messages are not direct and straight-forward; however, when reading the text from the perspective of the gay theory, we can disclose the use of allusions and codes thus providing an interpretation of friendship between Charles and Sebastian, as a romantic love story. In the case of Charles and Sebastian, the homoerotical link creates tension and problems, the depiction of their relations points to homosexual interest typical of immature personalities. However, the portrait of another, supporting character of the novel, Antony Blance, offers a different portrayal of a homosexual man: his hero is mature and successful in expressing his essentially different sexuality. In this way, Waugh has created an innovative image of a homosexual man. Nevertheless, emotionally the most vivid and nostalgic description in the novel is the portrayal of the romantic relations between both the main characters in their youth. They are depicted in a fragile and discrete manner by focusing on the emotional experience of the characters. Lack of openness and subtexts increase the artistic value of the novel.

THE STYLISTIC PATTERN OF ALLUSION: A COGNITIVE APPROACH

The aim of this paper is to explore the benefits of a cognitive stylistic approach to the study of the stylistic pattern of allusion, and examine its essential features in creative instantiations. The empirical material for this research has been chosen from a self-composed corpus of actual cases of creative use of allusion in the media, drawn from analytical articles, political speeches in the House of Commons, debates in the EU, BBC news, and cartoons. The theoretical points are illustrated by case studies of the creative use of allusion in verbal and visual discourse, seeking an understanding of each specific case within a particular context. Semantic and stylistic analyses along with in-depth investigation of the empirical material allow me to draw conclusions about the creative use of allusion. Identifying allusion not only calls for insights into cognitive stylistics but also cognitive psychology, namely, understanding of the role of cognitive faculties of the mind: perception, recognition, comprehension, imagination, long-term memory and associative thinking, which are central to drawing inferences. Cognitive stylistic studies of the material reveal that allusion is not merely an implied reference to historical, mythological, cultural, social and political phenomena and events. First and foremost, allusion proves to be a stylistic pattern of both thought and language. Its creative use in discourse results in novel expression of thought.

Сохранение аллюзивности англоязычного викторианского романа в переводческом дискурсе

This research is devoted to the study of the peculiarities of preserving the allusions of a Victorian novel when translated from English into Russian. The source of the material was E. Gaskell’s novel “North and South” and its translations into Russian by V. Grigorieva with E. Pervushina and S. Trofimov. The relevance of the topic and the relevance of the material involved are due to the relatively recent entry of the novel into Russian-speaking culture and the clearly insufficient degree of study of its translations into Russian. The study of the linguistic and stylistic features of the novel “North and South” and its translated versions allows us to draw conclusions about the specifics of the idiostyle and worldview of E. Gaskell, as well as about the participation of translators in the creative process. The aim of the work is to identify the specifics of the translation of allusions with an emphasis on preserving their associative-cognitive invariant. In the course of the research, we examined the concept of a literary text as an aesthetic and semantic unity, and defined its pragmatic function. The article raises the question of the dual role of the translator as the recipient and sender of the text at the same time, taking into account their linguistic personality. The definition of allusion as a cognitive concept is given, highlighting its main characteristics, after which a detailed analysis of the most complex and interesting cases of the use of allusions in the text and analysis of translation solutions is carried out. Cases of translation of allusions that have lost their relevance or are not part of the background knowledge of the recipient of the target language are considered. At the end of the article, a conclusion is drawn about the possibility of a creative approach in the translation of allusions, which allows the translator’s linguistic personality to be revealed most fully.

Musical Exphrasis in Ukrainian Organ Music (on the Example of “Sound of the Pinzel” by Bohdana Frolyak)

The relevance of the study is explained by the need to expand the understanding of the process of transmedial communication (and ekphrasis in particular), throw the prism of Ukrainian organ music. In this context, the problem of musical ekphrasis is considered on the example of the piece for organ and strings of the Ukrainian composer Bohdan Frolyak “Sound of Pinzel”.
 Main objective of the study is to identify ways to recode visual material into music in the piece “Sound of Pinzel” by Bohdana Frolyak. The theoretical basis of the article has certain researching sources by S. Bruhn and T. Tsaregradskaya, which explore the concept of musical ekphrasis, methods and principles of re-coding artistic information.
 The research methodology is based on a combination of the method of intermediate, holistic and contextual types of analysis, which allow through the analysis of visual material to approach the understanding of a musical work.
 Results / findings and conclusions. Musical ekphrasis means the translation of a work of visual art to the symbolic plane of music while preserving the compositional and / or syntactic qualities of the original source. Types of intersemiotic transmedialization are interpretation, recontextualization, game setting, association, and so on. It is noted that in the Ukrainian organ music the tendency of transmedial search is realized first of all through the appeal to ekphrasis. This thesis is confirmed by the analysis of the work of B. Frolyak, which was prompted by the sculptures of the Ukrainian baroque master Pinzel. It turns out that in addition to the «spiritual programmaticity» embedded in the plots of the sculptures, as part of the church ensemble, in the musical opus becomes obvious transmedial aspect, which acquires the features of musical ekphrasis. The piece “Sound of Pinzel” is based on the principle of spiritual association and the embodiment of structural and semantic parallels. It is pointed out that the sharp lines of the master's sculptures are conveyed in the music and the inner impulse and expression of movement is felt as a characteristic feature of the late Baroque style. Other features of ekphrasis are images in the outlines of themes (chapter II) of the sculptural plot or the use of allusion to the chorale (chapter VI) as a prayer symbol and so on. The conclusions emphasize the need to expand and detail the transmedia study of musical works, including the features of musical ekphrasis.

Bloody widows? Discourses of tradition and gender in Ghanaian politics

According to the Inter-Parliamentary Union, although there have been steady increases in the number of women in politics, widespread gender inequalities persist. This is particularly pervasive in patriarchal societies where gender norms and practices are deeply entrenched, with socio-cultural barriers often cited as some of the key impediments to women’s search for political power. There have, therefore, been calls to remove such barriers for effective participation. Unfortunately, some events that occurred before Ghana’s 2020 election discourage, rather than encourage, women’s participation in governance. With data from articles, headlines and comments from various online media outlets, this paper examines three events that reinforce what may be called ‘a bloody widow discourse’ in Ghana’s politics. Using Feminist Critical Discourse Analysis, the paper shows how traditional norms and expectations associated with widowhood can be perceived as barriers to women’s (and not men’s) quest for political power, thereby sustaining the unequal gender and power relations in politics. The use of allusion, rhetorical questions and presuppositions further perpetuate a ‘blame-the-widow’ discourse which makes the women appear unworthy of the power they seek.

Elusive Allusions: Shirley Jackson’s Gothic Intertextuality

Abstract: This article analyzes Shirley Jackson’s use of allusions in The Haunting of Hill House and Hangsaman . Drawing from Nicholas Royle’s work on the Freudian uncanny in relation to literature and pedagogy, it argues that, in both novels, allusions draw readers with literary knowledge into the protagonist’s psychological experience and ultimately comment on literary studies as an inherently gothic practice. In Hill House , a connected web of allusions to Charles Perrault’s “Bluebeard,” Oscar Wilde’s “The Canterville Ghost,” and Samuel Richardson’s Pamela works to convey the house’s telepathic power while simultaneously inviting us to feel, along with Eleanor, a proud possessiveness if we are (or think we are) able to discern the allusions’ significance for the novel. In this way, Jackson puts her well-read readers in the place of gothic protagonist; we believe we have a special ability to unearth the novel’s secrets but must ultimately wonder whether we, like Eleanor, are the ones who have been consumed. In Hangsaman , allusions to Pamela , Alice’s Adventures in Wonderland , Through the Looking-Glass , the 1908 pornographic novel The Way of a Man with a Maid , and "The Waste Land," as well as the Tarot and Tony Sarg’s marionettes, lead readers through a disorienting maze of clues and connections that replicates its protagonist’s disconnection from reality during her first year of college. In both novels, Jackson cultivates an uncanny reading experience through uncertain recollections, telepathic communications, and surprising correspondences. She illuminates both the allure and danger of literature’s enchanting power, revealing the intrinsically gothic nature of our engagements with the literary tradition.

The Book of the Prophet Isaiah and the struggle against heretics and apostates in Russia in the second half of the XV–early XVI century.

The paper considers the problem of the use of allusions to the text of the Book of the Prophet Isaiah by Moscow scribes of the time of Ivan III in the fight against heretics and apostates in the second half of the XV–early XVI century. The study was conducted using comparative and cultural-anthropological methods, which allows us to find out the spiritual state of Russian society during this period, as well as the attitude of the population to key historical processes. The article raised the question of the essence of the concepts of heresy and apostasy at the specified time. Special attention is paid to the political reasons for the actualization of these concepts and the development of the official ideology of the Grand Duchy of Moscow. First of all, it allowed us to draw a conclusion about the importance of the semantic aspect of punishment for religious crimes in the conditions of increasing expectations of the end of the world in 1492. The development of the idea of apostasy as a religious and political crime in the official Moscow ideology of that time was also shown. A special role in the development of this idea was played by the confrontation between Moscow and Novgorod in 1470-1471 . The possible influence of the Book of Isaiah on the semantics of the punishment of representatives of the heresy of "Jews" is noted not only as heretics, but also as apostates. The influence of the Book of Isaiah can be traced in the writings of Joseph Volotsky, one of the initiators of the brutal executions of heretics.