His photographs address themes in common with the painter, including moody maritime nocturnes and
allegorical interpretations of nature.
Hardison notes that popular devotional manuals contained
allegorical interpretations of ceremonial right up to the mid 1950s (p. 39).
It can not come from an obscurantist who behaves as though nothing had happened and is content to repeat the shibboleths of a short - circuited dogmatism, or to take over the exegesis of Luther naïvely and uncritically, to say nothing of
the allegorical interpretations of the Rabbis.
This is a truly scary identification insofar as it involves a resurgence of extreme antinomian supersessionism, since the main thrust of the Epistle of Barnabas is a radical
allegorical interpretation of the Law as part of a polemic against Jews.
But why should Muslims care if Catholics wanted them to be a bit more «Sufi,» keener on
allegorical interpretation of the Koran and the Hadith, and cooler on taking words like «jihad» literally?
When
an allegorical interpretation of the Song first developed is debated.
We need only mention briefly
the allegorical interpretation of the New Testament which has dogged the Church throughout its history.
Also Palestinian Judaism did not avail itself of
an allegorical interpretation of the mass of incomprehensible and impracticable commands in order to find in them an intelligible moral meaning This method was used only in Hellenistic Judaism under the influence of Greek thinking, as it was later in the Christian church, when it needed to come to terms with the Old Testament laws.
For the better part of nineteen centuries, the historic churches, wittingly or unwittingly, have contributed greatly to the global spread of anti-Semitism by their excessively
allegorical interpretation of most if not all favorable scriptural references to the Jews.
Not exact matches
In dealing with the problem, they made free use
of an
allegorical method
of interpretation, which was a legacy from ancient Greek scholarship.
It required them to move from literal
interpretations of the texts to
allegorical interpretations in which the religious insight
of the texts was uncovered.
As one who continues to delight in the poems, I cheer the ingenuity and inspiration
of the
allegorical interpretation which preserved the Song
of Solomon.
First, disputes with Protestants, who accepted Scriptural authority alone and rejected
allegorical interpretations, meant that the literal sense
of the Bible was fundamental and almost exclusive.
The Song
of Songs eulogizes a love affair between two unmarried persons, though even some scholars have conspired to cover up the fact with heavy layers
of allegorical interpretation.
Werner examines each
of these passages in detail and concludes that in none
of them is the
allegorical method
of interpretation necessary, while in most it is positively excluded.
As in most examples
of allegorical or symbolical
interpretation, the interpreter's views are first subtly read into the text and then adroitly extracted by a pretended exegesis.
Moreover, the
allegorical or «symbolical»
interpretation of the Gospel, which Volkmar, Holsten, and Schulze had pressed to its utmost limits, still survived — at least in the
interpretation of certain crucial passages.
Thanks to the admirable work
of de Lubac on the «four meanings»
of Scripture — historical,
allegorical, moral, anagogical — the breadth
of this mutual
interpretation of Scripture and existence is known.
This
allegorical interpretation, however, is not necessary to the understanding
of the book and has been almost universally given up by scholars.
Instead, they went through theological contortions to stress and promote their preferred concepts
of original sin and messianic redemption, and to fit literal
interpretations of scriptures that were in large part
allegorical.
Then it occurred to me that this
interpretation, despite the rejection
of allegorizing by this and all other competent New Testament scholars, was really an
allegorical interpretation.
Indeed, when St. Paul does happen to mention a relevant text from the Hebrew Scriptures — «You shall not muzzle an ox when it treads out the grain» (Deut 25:4)-- he does so simply to apply it by a kind
of allegorical interpretation to the economic support
of those who preach the gospel.
This is one
of the few parables that are almost, if not quite,
allegorical, and so is especially liable to erroneous and fanciful
interpretations.
From Ambrose in the fourth century A.D. to Thomas Hayne and John Milton in the seventeenth century, there have been repeated attempts to maintain a proper «biblicity» for Samson by means
of allegorical interpretation.
Given the
allegorical method
of Darren Aronofsky's storytelling the film is open to much
interpretation and criticism.
In addition, students learn to make clear and accurate
interpretations regarding the events
of the chapters 5 and 6, (as Napoleon's dictatorship begins to emerge) and make appropriate links to individual characters and their
allegorical relationship to context.
Even in his later works that depict the atrocities
of war,
allegorical still lifes, vivid
interpretations of art - historical masterpieces, and his sensual canvases created during his twilight years, he continued to apply a reduction
of colour.
Cindy Sherman's
allegorical pictures reflect our own conception
of the world and open up for new
interpretations of familiar phenomena.
PART 2: LIGHT AND SHADOW The ESSAY «Light and Shadow» discusses... flicker films, Plato's allegory
of the cave, H.P. Robinson's
allegorical images, working with the absence
of light, Tony Conrad's slow emulsions, photography as fairy magic and sun drawings, Adam Fuss's photograms, Hiroshi Sugimoto's feature - length exposures, Cai Guo - Qiang's explosions, light as cancerous radiation, light and shadow in city planning, contrast and lighting in works by Rineke Dijkstra, Jacob Riis, Weegee, Adrienne Salinger, and others, O. Winston Link's environmental light, darkness and light as metaphors for knowledge, morality, and power, pools
of light in Expressionism, film noir, and works by Hans Bellmer, Esther Bubley, and Anna Gaskell, Group f / 64, available light in the work
of Roy DeCarava, Yinka Shonibare's
interpretation of Dorian Gray, public projected images, Indonesian shadow play, Gregory Barsamian's kinetic sculptures, flickering portraits by Christian Boltanski, Kara Walker's silhouettes, and more...