Set to piano pieces by Gyorgy Ligeti, it's obviously, allusively in the line of Balanchine's bracing modernist works "Agon" and "Episodes," yet it doesn't feel derivative.
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As a first-time candidate for president, Barack Obama often attacked his rivals allusively, but he was also unafraid to render any of his attacks in stinging fashion.
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Tropikos is a deck of tarot cards distilled into cinema: profoundly still scenes draped with stark items, each allusively imbued with deep symbolism and hinting at a clandestine narrative.
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Lastly, I was glad to see "Double Jointed" (2017), the work of David Shrobe, whose assemblages I discovered a few months ago to be visually, allusively, and materially complicated and layered.
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Then there's the fact that Pepper's eclectic, allusively titled body of work tells a complicated story, one that imprecisely adhered to the rigid tenets of Minimalism, with its anti-referent stance and self-justifying manifestoes.
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At the same time, she exposes her story indirectly and allusively — it took me two trips through Monikahouse and a long personal conversation with the artist to arrive at the brief summary of biographical facts given above.
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The story it allusively tells, in the voice of a little boy listening uncomprehendingly to his parents' conversations through the 1970s, is that of Romanian history in the 20th century, a long chronicle of war, revolution and betrayal.
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"Milkwood Arcade" (1963), an early use of acrylic, places a passage of cool, tree-shaded light above a marine blue oblong; an excitable band of brown above and a hot sunny yellow embracing the whole complete a composition both Rothko-esque and allusively naturalistic.
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Here, he brings that awareness, allusively, into a Jamaican context in "Vodou: The Philovisualization of Damballa Hwedo, Giving Rise to the Afrikan Vanguards" (2015-2016), an installation whose gathering of painted bottles, wall drawings, animal horns and nearly silhouetted black figures creates an altar-like setting.
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Like many great artists, Fosse was a smart thief, his borrowings sometimes concealed (much of what he took from black dancers) and sometimes flashed allusively (as in references to Charlie Chaplin): Over time, the obvious influences of Fred Astaire and Gene Kelly would fade out, as Fosse's experiences as a teenager performing in strip clubs surfaced.
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Infinite Jest draws explicitly or allusively on many previous works of literature. As its title implies, the novel is in part based on the play Hamlet. Enfield Tennis Academy corresponds to Denmark, ruled by James (King Hamlet) and Avril (Queen Gertrude). When James dies, he is replaced by Charles (Claudius), the uncle of Avril's gifted son Hal (Prince Hamlet).
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It has been associated with Narcissus who wasted away as he grew as a youth. Here the aphorism is used allusively to argue for procreation. Narcissus is mentioned by Muir as similar to the Procreation sonnets, in that both the Fair Youth and Narcissus are obsessed with their own self beauty and how such beauty would easily be lost were they not to procreate.
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Attic red-figure pelike, Oedipus solves the riddle of the Sphinx and frees Thebes, by the Achilleus painter, 450-440 BC, Altes Museum Berlin (13718779634) The main Ancient Greek terms for riddle are αἴνιγμα (ainigma, plural αἰνίγματα ainigmata, deriving from αἰνίσσεσθαι 'to speak allusively or obscurely', itself from αἶνος 'apologue, fable')"enigma, n." OED Online. Oxford University Press, June 2016. Web. 18 July 2016.
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Still more potent was his work around civil rights, in paintings such as The Artist and the Assassin (1965), which featured an ailing Lincoln, John Wilkes Booth, haunting Klansmen, and a wild horse. Atlantic Cortege, another in this series, spotlights an African American funeral centered on a coffin. Meanwhile, an earlier painting The Hanging of the Hare (1957–58) explored similar themes, but more allusively, by referencing Dürer's Young Hare watercolor.
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In 1926, at the Salon des Tuileries, he exhibited Femmes au bord de la mer, introducing – just this once – the life-size human figure into the landscape. Later in his career, the human figure would appear again, if only allusively, in the many views of Paris that he quickly sketched out in paint on small wood panels. It was in this format alone that he focused on bourgeois life, depicted in the emblematic setting of the capital’s monuments and public parks.
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Throughout the work personal names are used allusively to reflect the paths of German culture from its medieval roots. For examples, Zeitblom's father Wohlgemut has the resonance of the artist Michael Wohlgemuth, teacher of Albrecht Dürer. Wendell Kretzschmar, the man who awakens them to music, probably hints at Hermann Kretzschmar, musical analyst, whose 'Guides to the Concert Hall' were widely read. The doomed child's name Nepomuk, in the 19th century quite popular in Austria and southern Germany, recalls the composer Johann Nepomuk Hummel and the playwright Johann Nestroy.
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184 In 1905 Lloréns reported allusively to Carlos VII that anti-liberal demonstrators in Levante carried a high potential for rebellion.González Calleja 1998, p. 335 In 1910 the new Carlist claimant Don Jaime recognized Lloréns as chief military adviser by summoning him to the Frohsdorf residence and appointing him to re-organise Requeté, an organization set up 3 years earlier by Juan María Roma and originally designed as a sporting and outdoor grouping for 12- to 16-year-olds.Eduardo G. Calleja, Julio Aróstegui, La tradición recuperada: el Requeté Carlista y la insurrección, [in:] Historia Contemporanea 11 (1994), pp.
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Bogdan Creţu comments that views of Baconsky are traditionally divided between two "extremist" positions: "he was either castigated for his sins of youth [...] or mythicized and raised to a level that his work could not have honored." Like Crina Bud, he believes Baconsky to have been a "vanquisher from a moral point of view", adding that he earned "absolution" from the victims of communism: "the writer passed the fire ordeal: he confessed." However, Cernat believes, Baconsky, like his fellow disillusioned communist Paler, refused to record his disappointment in writing other than allusively. Baconsky and his wife Clara were noted art collectors.
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Not all scholars to have used the concept of "cultural racism" have done so in the same way. The scholars Carol C. Mukhopadhyay and Peter Chua defined "cultural racism" as "a form of racism (that is, a structurally unequal practice) that relies on cultural differences rather than on biological markers of racial superiority or inferiority. The cultural differences can be real, imagined, or constructed". Elsewhere, in The Wiley‐Blackwell Encyclopedia of Social Theory, Chua defined cultural racism as "the institutional domination and sense of racial‐ethnic superiority of one social group over others, justified by and based on allusively constructed markers, instead of outdated biologically ascribed distinctions".
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Sokal, Alan and Jean Bricmont (1999) Fashionable Nonsense: Postmodern Intellectuals' Abuse of Science Macmillan, , p. 180 Similarly, philosopher Roger Scruton has questioned Badiou's grasp of the foundation of mathematics, writing in 2012: :There is no evidence that I can find in Being and Event that the author really understands what he is talking about when he invokes (as he constantly does) Georg Cantor's theory of transfinite cardinals, the axioms of set theory, Gödel's incompleteness proof or Paul Cohen's proof of the independence of the continuum hypothesis. When these things appear in Badiou's texts it is always allusively, with fragments of symbolism detached from the context that endows them with sense, and often with free variables and bound variables colliding randomly. No proof is clearly stated or examined, and the jargon of set theory is waved like a magician's wand, to give authority to bursts of all but unintelligible metaphysics.
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According to Beckwith, Piyadasi was living in the 3rd century BCE, probably the son of Chandragupta Maurya known to the Greeks as Amitrochates, and only advocating for piety ("Dharma") in his Major Pillar Edicts and Major Rock Edicts, without ever mentioning Buddhism, the Buddha or the Samgha. Since he does mention a pilgrimage to Sambhodi (Bodh Gaya, in Major Rock Edict No.8) however, he may have adhered to an "early, pietistic, popular" form of Buddhism. Also, the geographical spread of his inscription shows that Piyadasi ruled a vast Empire, contiguous with the Seleucid Empire in the West. On the contrary, for Beckwith, Ashoka himself was a later king of the 1st-2nd century CE, whose name only appears explicitly in the Minor Rock Edicts and allusively in the Minor Pillar Edicts, and who does mention the Buddha and the Samgha, explicitly promoting Buddhism.
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The idea of mutability and possession of an independent sense of emergent identity is of great concern to Songulashvili, particularly as it relates to the recent re-emergence of Georgia as an independent and autonomous state in 1991 — the year of the artist’s birth. The paintings of Levan Songulashvili engage with powerful and abstracted themes relates to the prescient concerns of passage and presence. That is to say from states of consciousness to the unconscious. He deals allusively with a sense of boundary and transition, the immersive nature of the world, the psychical element of water, the idea of flow and flux. As an artist he holds a mastery of affect and transience, having created painted works consisting of large- scale canvases that feature large expanses of grey-black washes infused with an otherworldly light; vast tonal shifts; and a primordial glow that hovers between the mythic and the bioluminescent, which also evoke feelings of the underworld, phantom-like blurred apparitions, images of the so-called “Shades” (Umbra), faces or presences that exist in an interstitial reality, an in between world of spectral dreams.
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