BIBLICAL ALLUSIONS «THEIR SHADDOE» AND «THEE» (THE 27th SHAKESPEARE SONNET) IN THE ANTHROPOCENTRIC PARADIGM OF INVESTIGATION

10.15535/102 ◽  
2014 ◽  
Vol 23 (1) ◽  
Author(s):  
A. M. Selezinka
Keyword(s):  
Biblical Allusions

Thomas More's “rule” of pleasure before, after, and inUtopia

Moreana ◽  
2017 ◽  
Vol 54 (Number 207) (1) ◽  
pp. 36-56
Author(s):  
Gerard Wegemer
Keyword(s):  
Human Nature ◽  
The Other ◽  
Biblical Allusions ◽  
De Officiis

After establishing a context of More's lifelong engagement with the “calculus” of pleasure, this essay shows how the section devoted to the Utopians' pleasure philosophy is structured around five formulations of a “rule” to calculate “true and honest [honesta]” pleasure in ways that playfully imitate and echo the “rule” Cicero formulates several times in De officiis to discern one's duty when there seems to be a conflict between honestas et utilitas. When followed, the Utopian pleasure calculus shows the necessary role of societas, officii, iustitia, caritas, and the other aspects of human nature, most importantly friendship, that Cicero stresses in his rule and that he argued Epicurus ignored. Much of the irony and humor of this section depends on seeing the predominance of Ciceronian vocabulary in Raphael's unusual defense [patrocinium] of pleasure, rather than a Ciceronian defense of duty rooted in honestas. Throughout, however, this essay also shows how More goes beyond Cicero by including Augustinian and biblical allusions to suggest ways that our final end is not as Epicurus or the Stoics or Cicero claim; the language and allusions of this section point to a level of good cheer and care for neighbors and for God in ways quite different from any classical thinker.

Drawing Our Fish in the Sand: Secret Biblical Allusions in the Music of U2

2011 ◽  
Vol 19 (2) ◽  
pp. 181-222 ◽  
Author(s):  
Deane Galbraith
Keyword(s):  
Popular Music ◽  
Discrete Groups ◽  
Rock Band ◽  
Semantic Indeterminacy ◽  
Biblical Allusions

AbstractConfronted with a popular music subculture which is predominantly antipathetic to Christianity, the charismatic-evangelical members of rock band U2 double code their lyrics in such a manner that Christian references are hidden from mainstream listeners and media while being readily recognizable to their Christian fans. The device of allusion is especially amenable to this end, as the meaning of an allusion can only be considered by a reader or listener who possesses the requisite competency in respect of the evoked text(s). Through their utilization of biblical allusions, U2 therefore construct two different, perhaps even irreconcilable, groups of listeners—a knowledgeable Christian in-group and an unknowledgeable non-Christian out-group. With detailed reference to U2's songs, this paper examines the covert tendencies of allusion and the manner by which it is able to engage the listener's intertextual imagination. The paper also distinguishes a secret or hidden allusion from a generic allusion on pragmatic and socio-cultural grounds, and demonstrates the potential of secret allusions to increase semantic indeterminacy. Lastly, the paper examines some examples of the reception of the U2 song 'Magnificent' which demonstrate the effectiveness of U2's secret biblical allusions in creating two largely discrete groups of listeners.

Biblical allusions in the modern English media discourse

2021 ◽  
Vol 12 (1) ◽  
pp. 139-145
Author(s):  
Irina I. Kashtanova ◽  
Oksana A. Biryukova
Keyword(s):  
Media Discourse ◽  
Biblical Allusions

scholarly journals BIBLICAL ALLUSIONS IN LINA KOSTENKO’S POETRY

2020 ◽  
Vol 2 (14) ◽  
pp. 172-176
Author(s):  
L.K. Krainiak ◽  
O.I. Duda
Keyword(s):  
Biblical Allusions
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