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Allusion is an economical device, a figure of speech that uses a relatively short space to draw upon the ready stock of ideas, cultural memes or emotion already associated with a topic. Thus, an allusion is understandable only to those with prior knowledge of the covert reference in question, a mark of their cultural literacy. [8]
Allusion is a passing or casual reference; an incidental mention of something, either directly or by implication. [26] This means it is most closely linked to both obligatory and accidental intertextuality, as the 'allusion' made relies on the listener or viewer knowing about the original source.
After they ceased to become religious beliefs, few would have known the rites and rituals. Allusions often existed, however, to aspects that were quite public. Images existed on pottery and religious artwork that were interpreted and more likely, misinterpreted in many diverse myths and tales.
[21] However, as Heather James argues, Shakespeare's allusions to Virgil's Dido and Aeneas are far from slavish imitations. James emphasizes the various ways in which Shakespeare's play subverts the ideology of the Virgilian tradition; one such instance of this subversion is Cleopatra's dream of Antony in Act 5 ("I dreamt there was an Emperor ...
The story's Neoplatonic elements and allusions to mystery religions accommodate multiple interpretations, [3] and it has been analyzed as an allegory and in light of folktale, Märchen or fairy tale, and myth. [4] The story of Cupid and Psyche was known to Boccaccio in c. 1370, but the editio princeps dates to 1469.
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Lawrence Alma-Tadema's water-colour of an ambivalent Pandora, 1881 A pithos from Crete, c. 675 BC. Louvre. Pandora's box is an artefact in Greek mythology connected with the myth of Pandora in Hesiod's c. 700 B.C. poem Works and Days. [1]