After a long period of neglect and even disdain, allegory and myth in the broadest sense are coming again into their own as central tools to the understanding of literary art. The essays in this volume, ranging in time from the Middle Ages to the present and in subject from poetry to philosophy, explore the multiple interpretations of allegory, as well as the important distinctions among allegory, myth, and symbol.
Besides assisting in the understanding of particular literary works and authors, this book makes a worthy contribution to comprehension of the major role allegory plays in literature and indeed in life.
Among the nineteen essays are “‘Awaking Dream’: The Symbolic Alternative to Allegory,” by Murray Krieger; “The Modern Revival of Myth,” by James Engell; “The Two Allegories,” by J. Hillis Miller; “The ‘Rhythm of Metaphor’: Yeats, Pound, Eliot and the Unity of Image in Postsymbolist Poetry,” by Ronald Bush; and “Sartor Resartus and the Inverse Sublime: The Art of Humorous Deconstruction,” by Peter Allan Dale.
One of the most important theologians of the modern era, Karl Rahner is best known for his efforts to make Christianity credible in light of the intellectual questions of modern culture. Stephen M. Fields, SJ, now explains how Rahner developed his metaphysics as a creative synthesis of Thomism and the modern philosophical tradition. Focusing on Rahner's core concept of the Realsymbol, which posits all beings as symbolic, Fields establishes the place of the Realsymbol in philosophical theories of the symbol. He particularly concentrates on those key aspects of Rahner's metaphysics-his theories of finite realities and language—that have received insufficient attention.
By examining a wide range of Rahner's works in the context of twelve medieval, modern, and contemporary thinkers, Fields locates the origins of this seminal thinker's metaphysics to an extent never before attempted. He notes the correlations that exist between the Realsymbol and such work as Aquinas's theory of the sacraments, Goethe's and Hegel's dialectics, Moehler's view of religious language, and Heidegger's aesthetics.
Through this analysis, Fields reveals the structural core of Rahner's metaphysics and shows how art, language, knowledge, religious truth, and reality in general are all symbolic. Being as Symbol opens new perspectives on this important thinker and positions him in the broader spectrum of philosophical thought.
This is the story of the survival, recovery, astonishing success, and controversial status of the double-crested cormorant. After surviving near extinction driven by DDT and other contaminants from the 1940s through the early 1970s, the cormorant has made an unprecedented comeback from mere dozens to a population in the millions, bringing the bird again into direct conflict with humans. Hated for its colonial nesting behavior; the changes it brings to landscapes; and especially its competition with commercial and sports fishers, fisheries, and fish farmers throughout the Great Lakes and Mississippi Delta regions, the cormorant continues to be persecuted by various means, including the shotgun.
In The Double-Crested Cormorant, Dennis Wild brings together the biological, social, legal, and international aspects of the cormorant's world to give a complete and balanced view of one of the Great Lakes' and perhaps North America's most misunderstood species. In addition to taking a detailed look at the complex natural history of the cormorant, the book explores the implications of congressional acts and international treaties, the workings and philosophies of state and federal wildlife agencies, the unrelenting efforts of aquaculture and fishing interests to "cull" cormorant numbers to "acceptable" levels, and the reactions and visions of conservation groups. Wild examines both popular preconceptions about cormorants (what kinds of fish they eat and how much) and the effectiveness of ongoing efforts to control the cormorant population. Finally, the book delves into the question of climate and terrain changes, their consequences for cormorants, the new territories to which the birds must adapt, and the conflicts this species is likely to face going forward.
This is a study of New England figurative language from 1600 to 1850, from the English and Continental origins of Puritanism to the symbolic writings of Thoreau. It enriches our understanding of Puritan thought and expression and traces the influence of Puritanism on later American writing.
A common link among the writers of this period was a system of prophetic symbolism derived from Scripture. The Bible was the source of figures and types used to illustrate divine guidance in human affairs, and its prophetic language provided the Puritans with a method for explaining and projecting the course of history. Mason Lowance explores these modes of prophetic and metaphorical expression and the millennial impulse in American thinking. In the process he provides a cohesive approach to such diverse writers as Bradford, Cotton, Taylor, Increase and Cotton Mather, Edwards, Freneau, Barlow, Dwight, and Emerson. His book will be welcomed by all students of early American thought and literature.
Readers who are intrigued, though often mystified, by the intellectual fantasies of Jorge Luis Borges will find this book a revelation, a skeleton key to one of the most fundamental and baffling aspects of Borges’s fictions: the pattern of symbolism with an inner meaning. Carter Wheelock’s study reduces a number of literary and intellectual abstractions to concrete terms, enabling the reader to understand Borges’s fantasies in ways that show them to be not so fantastic after all. Indeed, they are amazingly consistent and minutely accurate in their symbolic depiction of the magic universe of the mind.
Wheelock also discusses the affinity between Borges’s philosophical idealism and his “esthetic of the intelligence,” the relationship between these and the esthetic ideas of French Symbolism, and the influence on his fictions of the Rubáiyát of Omar Khayyám.
Why is it that this “writer’s writer” from the Argentine—erudite, allusive, elusive—has attracted such international attention? In Wheelock’s opinion, it is because he has symbolized in his short stories the fundamental form of the human consciousness, the functioning of the imaginative (world-creating) mechanism, and the eternal battle between form and chaos. The Mythmaker is concerned with elucidating the particulars of Borges’s fictional works, but even as it does so it also reveals their universality.
Harold Schechter looks at the impossible tales and images of popular art--the space odysseys and extraterrestrial civilizations, the caped crusaders and men of steel, and monsters from the ocean floor--and finds close connections between religious myth and popular entertainment.
Symbol and psyche are twin concepts in contemporary symbological studies, where the symbol is considered to be a "statement" by the psyche. The psyche is a manifold of conscious and unconscious contents, and the symbol is their mediator. Because Lorca's dramatic characters are psychic entities made up of both conscious and unconscious elements, they unfold, grow, and meet their fate in a dense realm of shifting symbols.
In Psyche and Symbol in the Theater of Federico García Lorca, Rupert Allen analyzes symbologically three dramatic works of Lorca. He has found Perlimplín to be a good deal more complex in both psyche and symbol than it has been admitted to be. Yerma involves psychological complications that have not been considered in the light of modern critical analysis, and the symbolic reaches ofBlood Wedding have until this book remained largely unexplored.
Lorca was no stranger to the "agony of creation," and this struggle sometimes appears symbolically in the form of his dramatic characters. Both Yerma and Blood Wedding reflect specific problems underlying the creative act, for they are "translations" into the realm of sexuality of the creative turmoil experienced by Lorca the poet. Perlimplín portrays the paradoxical suicide as a self-murder born out of the futile attempt to create not a poem, but a self.
Previous criticism of these three plays has been dominated by critical assumptions that are transcended by Lorca's own twentieth-century mentality. Allen's analysis provides a new view of Lorca as a dramatist and presents new material to students of symbology.
Vengeance of the Victim was first published in 1986. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
More profoundly than any documentary record, the collected fiction of Giorgio Bassani—Il Romanzo di Ferrara — captures a very particular and powerful historical reality: Italian Jewish life under Fascism, especially between the passage of the so-called racial laws in 1938 and the end of World War II. Set primarily in the provincial city of Ferrara, Bassani's narratives interweave themes of death, victimization, betrayal, survival, and artistic production. His best-known novel, The Garden of the Finzi-Continis — and other works that concentrate on the crucial years of 1938-1945—stand at the center of the Romanzo.They are preceded by texts that look back on Jewish life in the liberal era of the Risorgimento, and followed by texts set in the liberated, democratic society of the postwar years. These framing narratives provide a space for remembrance and reflection.
Marilyn Schneider's aim, in Vengeance of the Victim, is to uncover the symbolic layers — historical, spatial, topographical, mythopoeic, allegorical, and sexual — that five Bassani's texts their richness and ambiguity, and in so doing to achieve a full understanding of his work and its representation of the Italian Jewish experience. Death and victimization, which pervade these texts, set in motion a process of artistic renewal that is most fully embodied in the vibrant young Micol Finzi-Contini, Bassani's textual icon and a victim of the Holocaust. Schneider also finds that the narratives, especially the late ones, pay self-reflexive attention to the creation of the text, constructing an authorial persona engaged in an existential, moral, and artistic journey from symbolic death to rebirth. It is the writing subject's successful completion of the journey that constitutes the vengeance of the victim.
The spell that the West has always exercised on the American people had its most intense impact on American literature and thought during the nineteenth century. Henry Nash Smith shows, with vast comprehension, the influence of the nineteenth-century West in all its variety and strength, in special relation to social, economic, cultural, and political forces. He traces the myths and symbols of the Westward movement such as the general notion of a Westward-moving Course of Empire, the Wild Western hero, the virtuous yeoman-farmer—in such varied nineteenth-century writings as Leaves of Grass, the great corpus of Dime Novels, and most notably, Frederick Jackson Turner’s The Frontier in American History. Moreover, he synthesizes the imaginative expression of Western myths and symbols in literature with their role in contemporary politics, economics, and society, embodied in such forms as the idea of Manifest Destiny, the conflict in the American mind between idealizations of primitivism on the one hand and of progress and civilization on the other, the Homestead Act of 1862, and public-land policy after the Civil War.
The myths of the American West that found their expression in nineteenth-century words and deeds remain a part of every American’s heritage, and Smith, with his insight into their power and significance, makes possible a critical appreciation of that heritage.
New perspectives on Israelite warfare for biblical studies, military studies, and social theory
Contributors investigate what constituted a symbol in war, what rituals were performed and their purpose, how symbols and rituals functioned in and between wars and battles, what effects symbols and rituals had on insiders and outsiders, what ways symbols and rituals functioned as instruments of war, and what roles rituals and symbols played in the production and use of texts.
Features:
Denise Schmandt-Besserat opened a major new chapter in the history of literacy when she demonstrated that the cuneiform script invented in the ancient Near East in the late fourth millennium BC—the world's oldest known system of writing—derived from an archaic counting device. Her discovery, which she published in Before Writing: From Counting to Cuneiform and How Writing Came About, was widely reported in professional journals and the popular press. In 1999, American Scientist chose How Writing Came About as one of the "100 or so Books that shaped a Century of Science."
In When Writing Met Art, Schmandt-Besserat expands her history of writing into the visual realm of communication. Using examples of ancient Near Eastern writing and masterpieces of art, she shows that between 3500 and 3000 BC the conventions of writing—everything from its linear organization to its semantic use of the form, size, order, and placement of signs—spread to the making of art, resulting in artworks that presented complex visual narratives in place of the repetitive motifs found on preliterate art objects. Schmandt-Besserat then demonstrates art's reciprocal impact on the development of writing. She shows how, beginning in 2700-2600 BC, the inclusion of inscriptions on funerary and votive art objects emancipated writing from its original accounting function. To fulfill its new role, writing evolved to replicate speech; this in turn made it possible to compile, organize, and synthesize unlimited amounts of information; and to preserve and disseminate information across time and space.
Schmandt-Besserat's pioneering investigation of the interface between writing and art documents a key turning point in human history, when two of our most fundamental information media reciprocally multiplied their capacities to communicate. When writing met art, literate civilization was born.
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