Thesis advisor: Pheme Perkins / The recognition of Rome in the ciphered images of Revelation 13 and 17–18 is a hallmark of historical criticism on the Revelation to John (John’s Apocalypse). This dissertation examines Revelation’s use of scripture to characterize the Roman Empire like the nations God has already defeated. The prophet-seer John spurred his audience, the churches of Asia Minor, to abandon pagan practices of eating meat sacrificed to idols and participation in emperor worship, practices seemingly tolerated by John’s opponents, Jezebel and the Nicolaitans. Unlike the majority of contemporary Jewish and Christian apocalypses, Revelation uses neither ex eventu prophecy nor pseudepigraphic narration to authorize its message to “come out” of Rome. Instead, Revelation alludes to scripture hundreds, if not a thousand, times. When describing Rome in Revelation 13 and 17–18, John alludes some six dozen times to the defeated Seleucid king Antiochus IV Epiphanes, the nations of Babylon, Tyre, Nineveh, and Edom, and the justly punished Judah and Samaria. God showed his servants the prophets the downfall of these powers, and they all fell. Likewise, he has shown John the vision of Rome’s desolation and the things which will happen to it soon. / Thesis (PhD) — Boston College, 2017. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

Este trabalho examina modalidades intertextuais em quatro peças de Marina Carr - Low in the Dark (1989), The Mai (1994), By the Bog of Cats (1998) e Ariel (2002) -, tendo por objetivo mostrar que a obra da dramaturga, embora organicamente integrada na tradição dramatúrgica irlandesa, exibe um ponto de tensão entre o desejo de preservação de aspectos tradicionais do teatro irlandês e a rebeldia que se traduz na subversão de velhas fórmulas. Esses dois pólos entre os quais se situam as peças da dramaturga revelam-se através da paródia, da alusão, do travestimento e da reescritura, por um lado, e, por outro, através da mistura dos gêneros. As peças selecionadas evidenciam a trajetória percorrida por Marina Carr na medida em que ao mesmo tempo em que se afirmam como locais, lidam com temas que ultrapassam as fronteiras do nacional. / This thesis examines modes of intertextuality in four plays by Marina Carr - Low in the Dark (1989), The Mai (1994), By the Bog of Cats (1998) and Ariel (2002) -, and aims at demonstrating that her theatre production, although organically integrated into the Irish drama tradition, presents a point of tension between the wish to cling to traditional features of Irish theatre and the rebellion against them. These two poles between which the playwright\'s work can be defined are revealed, on the one hand, through intertextual forms such as parody, allusion, travesty and rewriting and, on the other, by the mixture of genres. The chosen plays show evidence of Marina Carr\'s trajectory insofar as they present marks of Irishness and at the same time deal with themes that are not restricted to national problems.

This dissertation investigates the use of biblical interpretation in the Book of Daniel. It demonstrates the spectrum in which Daniel uses older scriptural texts such as Genesis and Ezekiel in order to accomplish the theological concord with the earlier scriptural traditions of ancient Israel. Methodologically, the dissertation embraces the theory of literary allusion. The allusions in Daniel to Genesis 10-11 characterize Daniel as a literature of resistance to human imperialism. The motif of universal language, absolute dominion, symbolic construction for imperialism, collective power of human politics, and divine triumph over Babel, resurface to highlight the strong consonance between Genesis and Daniel. The allusions in Daniel to Ezekiel demonstrate that Ezekiel 1-3 is the greatest source of apocalyptic texts in Daniel 7 and 10-12. The anthropomorphic manifestation of God in Daniel’s apocalyptic vision harks back to that in Ezekiel’s prophetic vision. Both magnificent characters in Daniel 7 (the one like a son of man) and 10 (the heavenly revealer) are portrayed as liminal figures. The son of man figure alludes to the Glory of YHWH (Ezekiel 1), Israel (Daniel 7), the maskilim (Daniel 11-12), and Ezekiel (Ezekiel 1-3). The heavenly figure in Daniel 10 alludes to Ezekiel 1, evoking the Glory of YHWH (Ezekiel 1), the maskilim (Daniel 11-12), and the four cherubim (Ezekiel 1). The links between the maskilim and Prophet Ezekiel show how Daniel 10-12 reshapes Ezekiel 1-3 to portray the critical period under Antiochus IV Epiphanes.

The abandonment of Heracles at the end of Book 1 in Apollonius Rhodius’ Argonautica marks a turning point for Jason and the rest of the Argonauts. The aid of their mightiest hero, upon whose strength they had relied, is lost to them and they must find a means of accomplishing their nearly impossible mission without him. Allusions to Heracles occur throughout Book 2, in all nine units of action, drawing the reader’s attention to Argonauts’ efforts to carry on in the face of their loss. These allusions can be grouped into four categories: explicit mention, verbal echo, extrapolative allusion, and geographic reference. The poet’s deliberate deployment of these allusions highlights the extent to which Heracles’ strength-based approach to problem solving still influences the Argonauts’ actions in Book 2. This approach contrasts with the role played by divine agents, which increases markedly in the poem’s second half, beginning with Book 3.

This project examines the ways in which allusion and quotation may be used by playwrights in the composition of play scripts, principally through the writing of two full length stage plays, String and The Talent, accompanied by a supporting exegesis. This exegesis examines how quotation and allusion are used in these works to support particular meanings intended by the author. The project also looks at theories that consider the ways allusion functions, particularly focusing on the debate in the field between the advocates of the theories of influence and intertextuality. It does not attempt to provide an historical overview nor an exhaustive investigation of the development of the major theories and their advocates, but rather to consider more summarily - in outline rather than in detail - the manner in which these ideas have set out to explain how allusion functions in texts. This project suggests its own theory on the way (particularly literary) allusion works. Transtextuality, although itself only a partial and incomplete means of explaining the allusive transaction, refers to the movement of language between texts. Allusion offers a mechanism by which authors of a new text may underscore intended meaning by reference to established texts based on the assumption that the meaning of the quoted text is already understood (or can easily be accessed), and that therefore that meaning is transferable to the new text and can be absorbed into the different context into which it has been placed. The purpose of this study is in part to examine the way allusion works as a practice of intertextuality, transtextuality and the influence of one or more texts upon another. It concludes that allusion to and quotation from one text by another operate as acts of authorship, literary devices employed by the writer as mechanisms for the attempted communication of intended meaning. In doing so, it is hoped that the project may articulate ways in which allusion and quotation can be used by playwrights in the composition of their dramaturgy.

Please note: this work is permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the lock icon and filled out the appropriate web form. / Stevie Smith, born Florence Margaret Smith in 1902, was one of the most popular English poets of the Sixties, remembered for her idiosyncratic style of writing and sense of sound; distinct drawings (with which she illustrated her poems); eclectic and very learned use of literary echoes and allusions; memorable readings (and singings); and schoolgirl attire. She lived in her London suburb at 1 Avondale Road, Palmers Green, from age three until her death. Her work is included in anthologies of modern poetry, and her novels, Novel on Yellow Paper, Over the Frontier, and The Holiday, are part of Virago’s “Modern Classics” series and still in print. All of her prose works – novels, stories, essays, and reviews – contain pieces of her poetry. She used French, German, and Latin in her work, reading widely in these languages. An astute reader of the Bible and admirer of hymns, she was brought up in the Church of England but proclaimed herself agnostic after finding herself unable to reconcile God’s love with the doctrine of eternal hell. Her English schooling, including writers such as Shakespeare, Crashaw, Dryden, Pope, Wordsworth, and Tennyson, informed her writing, as did nursery rhymes, proverbs, and children’s stories, notably Grimms’ fairy tales and Lewis Carroll’s Alice in Wonderland and Through the Looking-Glass. Animals and children are often characters in her poems; she cared deeply for them, though she believed she would have failed at having her own. This annotated selection of 75 poems, drawn from each of her original volumes, uses the true first editions as the copy-text and includes textual variants from drafts and later editions and printings. Her best-known poem, Not Waving but Drowning, is among those selected. Full-page scans from the first editions give the drawings that accompanied the poems. References, echoes, and allusions are identified just beneath the text of the poem for easy comparison. Glosses provide definitions for obscure or dated words, and an introductory essay discusses her life and work, giving an overview of how and why she came to write the way she did. / 2031-01-01

Este trabalho examina modalidades intertextuais em quatro peças de Marina Carr - Low in the Dark (1989), The Mai (1994), By the Bog of Cats (1998) e Ariel (2002) -, tendo por objetivo mostrar que a obra da dramaturga, embora organicamente integrada na tradição dramatúrgica irlandesa, exibe um ponto de tensão entre o desejo de preservação de aspectos tradicionais do teatro irlandês e a rebeldia que se traduz na subversão de velhas fórmulas. Esses dois pólos entre os quais se situam as peças da dramaturga revelam-se através da paródia, da alusão, do travestimento e da reescritura, por um lado, e, por outro, através da mistura dos gêneros. As peças selecionadas evidenciam a trajetória percorrida por Marina Carr na medida em que ao mesmo tempo em que se afirmam como locais, lidam com temas que ultrapassam as fronteiras do nacional. / This thesis examines modes of intertextuality in four plays by Marina Carr - Low in the Dark (1989), The Mai (1994), By the Bog of Cats (1998) and Ariel (2002) -, and aims at demonstrating that her theatre production, although organically integrated into the Irish drama tradition, presents a point of tension between the wish to cling to traditional features of Irish theatre and the rebellion against them. These two poles between which the playwright\'s work can be defined are revealed, on the one hand, through intertextual forms such as parody, allusion, travesty and rewriting and, on the other, by the mixture of genres. The chosen plays show evidence of Marina Carr\'s trajectory insofar as they present marks of Irishness and at the same time deal with themes that are not restricted to national problems.

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The opera Aniara by Karl-Birger Blomdahl premiered in 1959 and gained much attention forcombining its general serial style with other musical stylistic elements, as it alludes to and citesworks of other styles such as romanticism and jazz. This circumstance was considered amongother things to have led to Aniaras success, as it made the modernistic music more accessible to ageneral audience. I analyse two scenes in Aniara which contain allusions to and citations ofEllington's Ko-ko, Alfvén's Midsommarvaka, Shostakovich's Fifth Symphony, Beethoven's Ninthand the Swedish psalm Tryggare kan ingen vara regarding their intertextual meanings andaccording to Claudia Gorbman's theory of narrativity in film music. The overall function of theallusions and citations is to describe the conflicting emotions and mental states of the people ofthe spaceship Aniara: how they react to the occurring events during their voyage in space andtheir lack of hope. The intertextual references deepen the understanding of the narrative, and thesections with allusions are perhaps comparable to the aria in 1800th century opera, while themainly modernistic passages have a function similar to the drama-propelling recitative. Stylisticdiversity was not new in 20th century opera at the time of Aniara's premiere, however, the clearintertextuality of Blomdahl's allusions in service of narrative can be seen as ahead of its time.

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