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The allegorical matrix: Technique an...

Yost, Jason Allen.

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The allegorical matrix: Technique and tradition in Renaissance allegory.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The allegorical matrix: Technique and tradition in Renaissance allegory./
作者:	Yost, Jason Allen.
面頁冊數:	242 p.
附註:	Source: Dissertation Abstracts International, Volume: 72-05, Section: A, page: .
Contained By:	Dissertation Abstracts International72-05A.
標題:	Literature, Classical. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3445060
ISBN:	9781124536316

The allegorical matrix: Technique and tradition in Renaissance allegory.
Yost, Jason Allen.

The allegorical matrix: Technique and tradition in Renaissance allegory. - 242 p.

Source: Dissertation Abstracts International, Volume: 72-05, Section: A, page: .

Thesis (Ph.D.)--The University of Chicago, 2011.

There is no shortage of criticism on the subject of allegory. Writers as ancient as Quintilian and as recent as Paul de Man have contributed to what is a varied and learned body of literature. But while that abundance speaks to the appeal of allegory as a literary subject, critics have paid surprisingly little attention to how allegory actually works. Traditional approaches often stress its relationship to alterity, to its "otherness" of meaning, but then neglect to examine how that meaning was produced in the first place. Any description of allegory which takes into account only the final "otherness" of meaning is at best partial. This dissertation cuts in the opposite direction by emphasizing process over final meaning. I ask the operational question: How can a text say one thing and mean another? When approached directly, this question yields a description of allegory which emphasizes plurality rather than alterity.

ISBN: 9781124536316Subjects--Topical Terms:

1017779
Literature, Classical.

The allegorical matrix: Technique and tradition in Renaissance allegory.
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500 $a Source: Dissertation Abstracts International, Volume: 72-05, Section: A, page: .
500 $a Adviser: Michael J. Murrin.
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520 $a There is no shortage of criticism on the subject of allegory. Writers as ancient as Quintilian and as recent as Paul de Man have contributed to what is a varied and learned body of literature. But while that abundance speaks to the appeal of allegory as a literary subject, critics have paid surprisingly little attention to how allegory actually works. Traditional approaches often stress its relationship to alterity, to its "otherness" of meaning, but then neglect to examine how that meaning was produced in the first place. Any description of allegory which takes into account only the final "otherness" of meaning is at best partial. This dissertation cuts in the opposite direction by emphasizing process over final meaning. I ask the operational question: How can a text say one thing and mean another? When approached directly, this question yields a description of allegory which emphasizes plurality rather than alterity.
520 $a I argue, in simplest terms, that allegory is the artistic technique of superimposing multiple frames of reference, each of which can be summoned independently into the reader's consciousness. It is a kind of perspectival "trick," the narrative equivalent of an anamorphic image: We are confronted with a puzzling, densely-layered narrative which defies our normal reading practices, and so must seek out an unconventional viewpoint from which the puzzle is resolved.
520 $a The Allegorical Matrix attempts to balance a theory of allegory with practical criticism. Consequently, I present a small number of texts as descriptive snapshots which, taken together, convey some of the continuities and discontinuities in the broader allegorical tradition. The payoff for such an approach is twofold. By bringing together historically disparate writers like Homer, Virgil, Chaucer, Spenser, and Bunyan, I am able to map out the features, both operational and aesthetic, which are fundamental to every allegory. When considered case by case, however, each text allows me to examine how historical pressures and thematic concerns exert themselves upon the formalization of particular allegories. An operational approach to allegory, after all, would be ineffectual if it could not help us to understand the distinctiveness of each allegorist's work.
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