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Sam Rohdie

Allegory The image of Ettore on the bed of penitence in prison in Pier Paolo Pasolini’s Mamma Roma (1962) is seen from an extreme low angle, radically foreshortened. The perspective, the angle of view and the position of Ettore almost exactly reproduces the painting of The Dead Christ (c. 1500) of the fifteenth-century Italian Renaissance painter Andrea Mantegna. A series of likenesses are posed in the film between unlike things: the delinquent, confused, miserable Ettore, child of the borgate, and Christ the Saviour; the whore, Mamma Roma, and the mother of

in Film modernism
A context for The Faerie Queene

Edmund Spenser and the first readers of The Faerie Queene routinely heard their national concerns—epidemics, political plotting, recent Tudor history—discussed in biblical terms. This book samples contemporary sermons, homilies, and liturgies to demonstrate that religious rhetoric, with its routine use of biblical types (for Elizabeth, the Spanish threat, and Mary Stuart, among many others) trained Spenser’s original readers to understand The Faerie Queene’s allegorical method. Accordingly, the first three chapters orient the reader to allegorical and typological reading in biblical commentary, occasional liturgies, and sermons. This pulpit literature illuminates many episodes and characters within the poem, and subsequent chapters discuss some of these. For instance, the genealogies Guyon and Arthur discover in Book Two parallel sermon lists of Elizabeth’s kingly forebears as well as biblical commentary on the genealogies provided for Jesus in the gospels of Matthew and Luke. Florimell’s adventures in Books Three and Four, like contemporary marriage sermons, develop an allegory of the superiority of marriage over the single state. Likewise, the preachers’ treatment of the Northern Rebellion and the threat posed by Mary Stuart show biblical typology in the service of nationalism, much as the allegory of Book Six finds a way to celebrate Elizabeth’s execution of her cousin. In these cases, as in the Souldan episode, Book Six’s analysis of courtesy, and the Mutability Cantos, Elizabethan religious rhetoric lends support to traditional readings of the poem, indicating that Spenser’s original readers probably found The Faerie Queene less conflicted and subversive than many do today.

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The parable of the Good Samaritan
Mary Raschko

142 The politics of Middle English parables 4 Ethical allegories: the parable of the Good Samaritan … and siþþe þus I hym tolde How þat feiþ fleiȝ awey and Spes his felawe boþe For sighte of þe sorweful segge þat robbed was with þeues. ‘Haue hem excused’, quod he; ‘hir help may litel auaille.’ (Piers Plowman B 17.90b–93)1 To an even greater degree than the story of Dives and Lazarus, the Good Samaritan parable (Luke 10:25–37) appears on its surface to be a moral exemplum: it showcases charitable good living, almost hyperbolically, and ends with an explicit

in The politics of Middle English parables
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The Others and its contexts
Ernesto R. Acevedo-Muñoz

) and El laberinto del fauno/Pan’s Labyrinth (2006) all return to the context of the Spanish Civil War (1936–39) and its bigger sister, World War II (1939–45) to tell stories about children caught between reality, fantasy, horror and allegory. In his essay on ‘Historical Allegory’, Ismail Xavier offers a history and analysis of the persistence of allegory in Western narrative

in Contemporary Spanish cinema and genre
Alan Bennett’s Single Spies
Jonathan Bolton

beleaguered by his past, giving credence to the possibility that Blunt regretted his actions. One of the paintings he is now working on, Titian's Allegory of Prudence , serves as a particularly apt theme for Blunt's time of life and points to the likelihood that Blunt has, with age, accrued wisdom. Bennett says that A Question of Attribution “owes a great deal” to two essays: “Titian's Allegory of Prudence” by Erwin Panofsky, and “Five Portraits” by St. John Gore, who was Blunt's student at the Courtauld Institute. Panofksy's essay interprets Titian's painting, a triple

in The Blunt Affair
Syrithe Pugh

1 Intertextuality and allegory in Virgil’s Eclogues Servius and political allegory Virgil’s chief innovation in pastoral, it has long been recognized, is his introduction of contemporary political realities. Theocritus’ Idylls are varied in subject matter, sometimes set in a bustling city, sometimes speaking of or addressing contemporary rulers, sometimes miniaturizing heroic epic, but the group of idylls recognized in antiquity as ‘bucolic songs’ deal with herdsmen concerned mainly with singing and with love, in a world apparently sealed off from the events of

in Spenser and Virgil
Matthew Black
Bulletin of the John Rylands Library
Rebecca Weaver-Hightower and Rachel Piwarski

This essay investigates how H G Wells’s The Island of Doctor Moreau employs the gothic trope of the uncanny. Despite Wells’s use of ‘uncanny’ twice to describe humanized animals, prior critics haven’t explored what the uncanny adds to our understanding of the novel, perhaps because Freud’s famous essay ‘The ‘Uncanny’ was written in 1913, following The Island of Doctor Moreau by more than two decades. We argue, however, that both men were working from notions of the uncanny circulating in fin de siècle Europe and describing a larger colonial dynamic, so that even though Wells’s work preceded Freud’s, we can use Freud’s explanation of the uncanny to better understand what Wells was doing and why the animals in The Island of Doctor Moreau are so unsettling to readers in our time and in his. That is, the uncanny helps to explain how the novel works as a gothic. Moreover, by examining how Freud’s theories help us to understand Wells, we also see elements of Freud’s essay that we wouldn’t otherwise. We will argue that because Freud and Wells were describing the world around them, overlap is logical, even predictable, and certainly useful to understanding both projects.

Gothic Studies
The Strange History of The Robe As Political Allegory
Jeff Smith

Smith reveals the particular biases and assumptions of blacklist allegories as well as the extent to which this type of interpretation has informed the reception of 1950s films. More specifically, he addresses several questions about the validity of allegorical readings of the blacklist. Is there a basis for such allegorical interpretations? What is the place of authorial intention and audience reception in the encoding and decoding of blacklist allegories? What does this reading strategy tell us about the politics of the films makers? Does this reading strategy privilege certain meanings of the text over others of equal significance?

Film Studies
Laurie Johnson

sense of the fictional world by applying local knowledge and, in so doing, transform the literary topos into a field of contemporary topical allegory. The initial audience for any play was the Master of the Revels, whose licence was required before it could be performed to any other audience. Accordingly, for the play to attempt to achieve a genuine transformation in its audience, it must first negotiate a change in relationship between the players and their chief censor. My argument will ultimately be that the supernatural subject matter of Midsummer frames a set

in Shakespeare and the supernatural