This is, I think, the power of a game that has profoundly allegorized its own legacy into the gameplay itself.
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It is usually allegorized to tell us about the centrality of faith, or the church, or Jesus, or the Kingdom of Heaven.
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Through realignments and manifold perspectives on the same allegorized seascape, these new paintings draw forceful attention to the interdependence between light and time.
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The historical timeline of Grindelwald's rise corresponds generally to the rise of Nazi Germany, and Rowling has always heavily allegorized Grindelwald as the Wizarding World's version of Hitler.
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A truly modern left, one cannot help but think, would be at liberty to shed a manufacturing-era, deterministic framework like Marxism, allegorized and hyperextended far beyond its time.
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It's a way of slipping into an analytical mode through a side door, under cover of an image — a specimen of what they call visual culture — that can be allegorized.
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Ceramic tiles, colored smalto, and glittery designs embedded with glass shards or natural stone come together to portray heroic citizens, from focused factory workers to streamlined athletes to superhuman scientists who conquer problems allegorized as monsters.
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In Gigi Scaria's All About This Side, exhibition at Aicon gallery, the buildings become genuinely surprising because they are allegorized in myriad ways that reveal a history of varied uses for the idea of a dwelling place: surrealist structures, temples, edifices confected from minerals housed in natural rock, features of the landscape, repeated theoretical design templates that are ostensibly created for people though no humans are in evidence.
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Dupuis argued that ancient rituals in Syria, Egypt and Persia had influenced the Christian story which was allegorized as the histories of solar deities, such as Sol Invictus.Wells, G. A. (1969). Stages of New Testament Criticism. Journal of the History of Ideas, 30 (2): 147-160.
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The Eleusinian Mysteries were the earliest and most famous of the mystery cults and lasted for over a millennium. Whenever they first originated, by the end of the 5th century BC, they had been heavily influenced by Orphism, and in Late Antiquity, they had become allegorized.
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Psyche in the grove of Cupid, 1345 illustration of the Metamorphoses, Biblioteca Apostolica VaticanaManuscript Vat. Lat. 2194, Biblioteca Apostolica Vaticana. The story of Cupid and Psyche was readily allegorized. In late antiquity, Martianus Capella (5th century) refashions it as an allegory about the fall of the human soul.
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McCulloch 1960, p. 119 The gaze of a wolf could strike a man dumb, for which the only cure was tearing off his clothes and hammering two stones together to frighten the wolf away, allegorized as casting off sin to drive away the devil; detail of a miniature from f. 29r; folio 29r.Payne 1990, p.
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Statue of Liberty at the top of the May Pyramid, inaugurated in 1856. She holds an Argentine shield in her left hand. The Argentine Republic allegorized by Ettore Ximenes in 1900; Note that in the place of the heart the Argentina Shield is sculpted. There are various allegorical representations of Argentina or associated in any way with Argentina.
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Douglas Bush notes, 'The goat-god, the tutelary divinity of shepherds, had long been allegorized on various levels, from Christ to "Universall Nature" (Sandys); here he becomes the symbol of the romantic imagination, of supra-mortal knowledge.Barnard, John. John Keats : The Complete Poems, p. 587, In the late 19th century Pan became an increasingly common figure in literature and art.
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The Night is accused of having murdered the Lady Shadow, who is missing. The opera depicts Night's trial by the "day people", allegorized by animals. The judge is a raven, prosecutor is a cock and Night's attorney is an owl. Witnesses, all night owls for some reason of their own, are called to the bar and try to save the Night.
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The dissonance within social life is subtly allegorized by the use of sound. For the short video Rear Window, Ma documented the nightlife of people living in a large residential complex across the street from her apartment. The video is accompanied by sound tracks composed from the artist's own imagination, which makes the much-desired intimacy a mere projection of one's own psyche. Communication seems unachievable despite the voyeuristic observation.
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Cardinal Federico Cornaro and Doge Giovanni I Cornaro, are present and shown discussing the event in boxes as if at the theatre. Although the figures are executed in white marble, the aedicule, wall panels and theatre boxes are made from coloured marbles. Above, the vault of the Chapel is frescoed with an illusionistic cherub-filled sky with the descending light of the Holy Ghost allegorized as a dove. The art historian Rudolf Wittkower wrote: File:Cornaro SM della Vittoria.
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The Paradise of Fools is a literary and historical topic and theme found in many Christian works. A traditional train of thought held that it is the place where fools or idiots were sent after death: intellectually incompetent to be held responsible for their deeds, they cannot be punished for them in hell, atone for them in purgatory, or be rewarded for them in heaven.Brewer 669. It is usually to be read allegorically, though what precisely is allegorized differs from author to author,Treip 134, 198.
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33, citing Epidrome 5.5.7–9. Within the Pythagorean and Neoplatonic traditions, Pluto was allegorized as the region where souls are purified, located between the moon (as represented by Persephone) and the sun.Plutarch, The Face of the Moon, LacusCurtius edition of the Loeb Classical Library translation online, as discussed by Leonard L. Thompson, "ISmyrna 753: Gods and the One God," in Reading Religions in the Ancient World: Essays Presented to Robert McQueen Grant on His 90th Birthday (Brill, 2007), p. 113, with reference also to Iamblichus.
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In the mid-1980s, the next major movement in Mexico was Neomexicanismo, a slightly surreal, somewhat kitsch and postmodern version of Social Realism that focused on popular culture rather than history. The name neomexicanismo was originally used by critics to belittle the movement. Works were not necessarily murals: they used other mediums such as collage and often parodied and allegorized cultural icons, mass media, religion, and other aspects of Mexican culture. This generation of artists were interested in traditional Mexican values and exploring their roots—often questioning or subverting them.
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The plot is typical of the “vision poem” genre popular in the Middle Ages. The modern reader will recognize similarities to Dante’s Inferno, also a vision poem. Mena himself is the narrator. He opens the poem with a lament about the “casos falaçes” of Fortune (unfortunate things that happen to people). He asks to see Fortune’s home in order to better understand how she functions. After being whisked away by a dragon-pulled chariot, he is guided through Fortune’s abode by Divine Providence (allegorized as a female character).
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St. Augustine says that this parable should be taken at face value and not allegorized. Its meaning is clearly stated: :...seek ye [first] the kingdom of God, and his righteousness; and all these things shall be added unto you.Jeffrey, David L., "The Lilies of the Field", A Dictionary of Biblical Tradition in English Literature, Wm. B. Eerdmans Publishing, 1992 Danish philosopher Søren Kierkegaard (1813-1855) often referred to Matthew 6:26. For him the birds of the air and the lilies of the field represented instructors in "religious joy", an appreciation that "there is a today".
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In 1620, and again in 1621, James issued decrees against writing or speaking on state affairs. John Everard preached against the match in February 1621, at St Martin-in-the-Fields, and spent about half a year in the Gatehouse Prison. When Robert Mason wrote in 1622 to his friend Thomas Hobbes about public opinion on the match, criticising James's policy and noting Gondomar's skill in gaining support for it by holding out the prospect of the Palatine being returned to Frederick V, he hedged his comments with pleas for secrecy. Thomas Middleton's 1624 play A Game at Chess allegorized the events surrounding the Spanish Match.
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Buttlar rejected ecclesiasticism and any religious restriction made by Philadelphian groups and the contempt of worship and sacrament made by separatist groups. Everything else the society practiced can be summarized as sectarian-sexual libertinism, particularly the society's idiosyncratic interpretation of the Sophia-Speculation and the myth of androgynous primeval man. With Winer as the "Godfather" and Appenfeller as the "Son", she, the "heavenly Sophia", allegorized the visible "heavenly trinity". the "practical application" of the mystical idea of the marriage of spiritual man with heavenly Sophia, as developed by Jakob Böhme and Johann Georg Gichtel involved the physical union with "Mother Eve" at the "Pool of Bethesda", which restored the androgynous "creation condition".
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In May, Norwood was excommunicated from his gathered church. The following month an indictment was prepared jointly against Norwood and Tany. The indicters seem to have understood Tany as some type of Ranter, as one of ungodly conduct who allegorized the Bible and internalized hell; as an antiscripturian universalist who repudiated gospel ordinances and averred that men might live as they wished; as one who glorified sin and maintained that the soul is God. Yet, as Norwood recognized, only two of the charges fell within the scope of the Blasphemy Act of August 1650 – the allegations that Tany and Norwood affirmed: > the Soul is of the essence of God > There is neither hell nor damnation.
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In the early 12th century, when Adelard of Bath (c. 1080 - 1152) allegorized two contrasting figures to dispute De eodem et diverso; they were Philosophia and Philocosmia, "love of wisdom" and the "love of the world".It is noteworthy that while Fleming's interpretation comes from his view that contemptus mundi was an embedded practice in the study of medieval literature, Bridget K. Balint in her Ordering Chaos: The Self and the Cosmos in Twelfth-Century Latin Prosimetrum (2009) argues that Adelard in fact does not despise the world per se, see p. 56. Adelard's contemporary, Henry of Huntington, in the dedicatory letter to his Historia Anglorum referred in passing to "those who taught the contempt of the world in schools".
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The destruction of Jerusalem by the Romans in CE70 and again in CE135 had a profound impact on Jewish–Christian relations. Many saw the Jewish–Christians as traitors for not supporting their brethren, and Vlach says supersessionism grew out of those events. Scholars such as W. C. Kaiser Jr. see the fourth century, after Constantine, as supersessionism's true beginning, because that is when a shift in Christian thought on eschatology took place. The church took its universally held traditional interpretation of Revelation 20:4-6 (Millennialism) and its hope of the thousand year earthly reign of the Messiah on earth, centered in Jerusalem, ruling with the redeemed Israel, and replaced it with a "historicized and allegorized version, that set up the church" as the metaphorical Israel instead.
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His work traces the process in which they were already transformed during Late Antiquity, whether embedded within history as transfigured former human beings in the Euhemerist view that was embraced by Christian apologists (interpretatio christiana), or given planetary roles as astral divinities in the worldview of astrology and magic or allegorized as moral emblems. They surviving in pictorial and in literary traditions and among the common people went underground to feature in folk culture, took on strange new guises and were transformed in various ways, their myths recast to suit some of the mythic saints of Late Antiquity. Their imagery permeated Medieval intellectual and emotional life. The transformed mythology re-emerged in the iconography of the early Tuscan Renaissance, with new attributes that the ancients had never imagined, and enjoyed tremendous renewed popularity during the Renaissance.
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Dei Rossi quotes from the writings of Philo, whose orthodoxy he questions. He criticizes him for having allegorized Biblical narratives of facts, and points out that the Alexandrian philosopher never gives the traditional interpretation of the Biblical text. (However, he also offers a possible defense of Philo, and reserves a final judgment.)Naomi G. Cohen, "Philo Judaeus and the True Torah Library"; Tradition: A Journal of Orthodox Jewish Thought 41(3), Fall 2008. In the second part Dei Rossi criticizes a number of the assertions of the Talmudists (some of the criticisms were already extant and many of his criticisms were repeated by later commentators), and gives explanations of various aggadic passages which can not be taken literally (as, for instance, the aggadah which attributes the death of Titus to a gnat which entered his brain while he was returning to Rome).
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Catacombs of Domitilla, Rome The olive branch appears with a dove in early Christian art. The dove derives from the simile of the Holy Spirit in the Gospels and the olive branch from classical symbolism. The early Christians, according to Winckelmann, often allegorized peace on their sepulchers by the figure of a dove bearing an olive branch in its beak.James Elmes, A General and Bibliographical Dictionary of the Fine Arts, London: Thomas Tegg, 1826 For example, in the Catacomb of Priscilla in Rome (2nd – 5th centuries AD) there is a depiction of three men (traditionally taken to be Shadrach, Meshach, and Abednego of the Book of DanielParrochia di Santa Melania ) over whom hovers a dove with a branch; and in another of the Roman catacombs there is a shallow relief sculpture showing a dove with a branch flying to a figure marked in Greek ΕΙΡΗΝΗ (Eirene, or Peace).
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