Abstract
In this paper an intertextual relationship between Ammianus' Res gestae and Xenophon's Anabasis is proposed and contextualized. This intertextuality, which occurs in the form of a narrative ...allusion, is founded upon the thematic and structural similarities shared between the death narratives of Julian in book 25.3.3-6 of the Res gestae and that of Cyrus in book 1.8.6, 19, 24-27 of the Anabasis. An attempt at interpreting this particular narrative allusion reveals that Ammianus constructed this allusion intentionally with two specific goals in his mind. First, he made a subtle retort to Gregory of Nazianzus' negative comparison between Julian and Cyrus (Or. 5.13-14) by reversing Gregory's comparison into a positive one, and second, which is of a more personal note, he cast himself by implication as Julian's Xenophon in the Persian campaign of 363 CE, with whom he shares several loci of contact.
The study of Pushkin's allusions in the works of Anton Chekhov has been carried out for several decades. The relevance and novelty of this topic is associated with new observations and searches for ...intertextual connections, the expansion of the context of analysis, including in connection with the appeal to the dramatic works of the writer. This work considers the allusions from the works of A. Pushkin "The Queen of Spades", "Boris Godunov" and others, their role in the artistic whole of the comedy of A. P. Chekhov "The Cherry Orchard". The effectiveness of the approach which was outlined in the studies of R.G. Nazirov in the 1990s, as well as S.A. Kibalnik, M.V. Litovchenko and other domestic scientists is confirmed. Literary allusions resonate in Chekhov's artistic world, cumulatively marking a transitional stage of cultural and historical life and its personal comprehension. The intertextuality of Chekhov's works allows us to create an integral image of Russian culture: the semantic relations of allusions and reminiscences are combined with the multilayered symbolism of sound, hearing, gesture, touch - in general, the experience of time and the multiple meanings of words. The semantic "expansion" of Chekhov's play text leads not only to comparisons with Russian classics, but also to an open finale - a future literary context, implementing the "principle of plot uncertainty" and removing the uniqueness/truthfulness of any interpretation.
In his poetic work, Callimachus pushes the art of allusion to heights of refinement: the choice of an adjective in the Hecalea alone offers a fine illustration.
The methodology analyzes a (seemingly) unidentified allusion in Psalm 115:4 to Hosea 8:4. Since the psalmist thrice exhorts worshipers to place security in YHWH (vv. 9-11), the psalm deepens the ...rhetorical force of the exhortations by hinting at Israel's tragic hktory of placing security elsewhere. "1 By introducing and then applying a composite innerbiblical allusion methodology to Psalm 115:4 and its role in the psalm, this study argues that the psalm alludes to an anti-idol polemic in Hosea for a nuanced theological purpose. By contrast, the content of Hosea 8 is not among what historical-critical scholars attribute to redactors.22 Even on the typical postexilic dating of Psalm 115 or the earlier suggestion below, Hosea 8:4 was probably available to the psalmist. ...the proposed allusion provides a viable, concrete link between the polemic in Psalm 115 and a specific prophetic text strengthened by the thematic and rhetorical analysis below. When the term refers to making idols, it implies a jab at idols as mere craftsmanship.29 Unsurprisingly then, ... (craftsman) occurs in four of the six prophetic contexts that Roth labels as anti-idol polemics.30 In form and terminology, then, Hosea 8:4 is an anti-idol polemic. ...for Psalm 115 to share an ideological strategy found in only a handful of texts and to possess a rare cluster of terms further commends the proposed allusion as probable. ...Hosea generally and the unauthorized royal installment in 8:4 specifically relate to the northern kingdom,32 and Psalm 115's "O Israel" (MT) or "O house of Israel" (versions) is probably "a holistic term for the entire covenant nation.
To limit the language to mere a conglomeration of words is not
sufficient rather to call it the specific words which sustain cultural
and civilizational bond with its society. As Language, through ...poetry, carries more potentialities to create and infuse lasting impact, that is why, minute attributes of language emerge out more prominently. Poetry cannot be judged by doing away with civilization. The poetic roots of urdu language, which come in the category of Allusion (Talmeehat), are deep-rooted in its history and civilization. The term allusion is a part of human awareness
which has its own civilizational symbols. Talmeehat involves time and space like vastness. An innovative world of modern trends in urdu poetry is witnessed at the end of classical phase and at the beginning of the twentieth century. Urdu Poetry remained progressive towards its heights. Accepting historical incidents as key source, novel meanings and possibilities have been sought. That is why, poets have given them the shape of symbols and Talmeeh and very aptly, so made them the part of poetical experiences.
Paul McCartney's admiration for the work of Brian Wilson is well known, and the inspiration he took from Wilson's Pet Sounds (1966) during the period of Sgt Pepper(1966-67) has been often noted. What ...has hitherto gone unremarked is that some of the most striking features of McCartney's work already on Revolver (1966) can likewise be traced to Wilson's mid-decade project of musical experimentation, beginning with the single "The Little Girl I Once Knew" (1965). In four case studies, this article explores how McCartney "nicked" ideas from Wilson and made them his own.
Humor and allusions on screen Kateryna Pilyarchuk
European journal of humour research,
06/2023, Volume:
11, Issue:
2
Journal Article
Peer reviewed
Open access
Contemporary texts often require a reader or viewer with vast background knowledge. One of the reasons behind this is intertextuality: every text is reliant, to a certain extent, on previous written, ...filmed, or painted artifacts. Conveying intertextuality by means of another language implies that a translator recognizes allusions and their function, analyses their recognizability in the target culture, and offers a solution that maintains their pragmatic effect. In the case of a multimodal product like an animated cartoon, the translator is also tasked with bringing the verbal channel to conformity with the non-verbal one. This article focuses on translation strategies of allusions to examine whether the distance between the original and target language plays a crucial role in conveying allusive humour. The research corpus is complete Season 5 of The Simpsons animated sitcom and its three translations: German, Ukrainian, and Russian. Selected scenes are discussed in light of the General Theory of Verbal Humour (Attardo, et al. 2002) and strategies for translating allusions (Leppihalme, 1992). The findings suggest that the distance between languages is not a key factor when searching for effective translation solutions, and that it is a translator’s competence that plays a major role in humour translation.
Among the various devices that conform a given writer’s style (i.e. syntactic, semantic, and so on), we will ll analyse in this paper two of them, allusion and euphemism. And so, in order to ...illustrate how, by means of these stylistic devices, A. Machado gets cognitive effects and criticizes two given philosophical systems in two extremely short poems. Euphemisms and allusions do perform meanings in cognitive domains not merely aesthetic or rhetorical ones. And this function is related to previous knowledge and presuppositions of the speakers. For that reason several levels of readings are possible according to the different levels of presuppositions made by speakers.
Abstract
A study of a previously uncommented upon window reference of Vergil,
Eclogues
1.55 through
Aeneid
2.8-9 in Ovid,
Fasti
2.635. The paper argues that the allusion to
Ecl.
1.55 enriches our ...understanding of these lines on several levels. First, Ovid demonstrates his own appreciation of Vergilian intratextuality. Second, the allusion suggests a continuity between Tityrus’ pastoral
locus amoenus
, which Octavian was purported to have renewed, and the family
cena
that closes with a toast to Augustus as the
pater
of the Roman state. Lastly, the double reference to
A.
2 and
Ecl.
1 intertextually reinforces the calendrical turning away from the past and its dead to the living present initiated by the
Caristia
.
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