Sometimes the visions people described seemed more allegorical than literal, but no less meaningful.
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You couldn't have scripted a more allegorical end to the progressive crusade started by Sanders.
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Or maybe they feel like they're dealing with today in a more allegorical or symbolic way.
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The more allegorical and spiritual his work became, the more it confused and even disgusted the general public.
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Taking advantage of the lower-degree of hyper-realistic precision that the medium offers, her paintings feel more mysterious than didactic, more allegorical than forthright.
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Sometimes the best way to go into the center of private trauma, familial trauma, is to use it as the quiet center of something larger, more allegorical or phantasmagorical.
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Things get more allegorical in the show's centerpiece, the large cotton, wool, and silk tapestry "Gebunden" (2017), which looks like a kind of stylized family tree of a particularly dysfunctional clan.
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But I don't think it's as thematically interesting as the more allegorical episodes from earlier in the season, and it spends more time on Doctor Manhattan himself as a character than I particularly care for.
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A heady, sometimes headlong blend of fable and nightmare, with overtones of David Lynch and Franz Kafka and arresting wide-screen black-and-white images, Avishai Sivan's second feature, "Tikkun," is the latest evidence of the vitality of Israeli cinema, which has recently been moving away from politics-inflected realism in wilder, more allegorical directions.
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The Seed () is a 1940 novel by the Norwegian writer Tarjei Vesaas. The narrative is set on a small island where a stranger settles. This is soon followed by a mysterious murder case, which creates widespread distrust in the community. The novel was the author's first departure from literary realism into a more allegorical mode of storytelling.
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At this time Swanzy's painting was influenced by orphism and was reviewed positively. Her work became more allegorical in later years, with The message in the Hugh Lane Gallery demonstrating this. During World War II Swanzy stayed with her sister in Coolock for three years. In 1943, she held a one-woman show at the Dublin Painters' Gallery, and she was also featured at the first Irish Exhibition of Living Art.
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There is a small white dog by her right foot. In the background, King David and a boy can be seen standing on the balcony high above. The maid's facial type, demeanour and clothing bear the strong influence of Rogier van der Weyden's depictions of the Virgin Mary. The figure of Bathsheba has been compared to that in Jan van Eyck's now lost Woman Bathing, although that painting is more allegorical than narrative.
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Ward's painting showed the Duke of Wellington in the red uniform of a British Field Marshal with decorations and sashes, standing in a triumphal chariot accompanied by the figure of Britannia. The chariot was drawn by four white horses, led by allegorical figures. Above was a sweltering orange sun and an angel, while more allegorical symbols and characters littered the canvas. Twisted Solomonic column to the left and right sides framed the image, supporting a swagged entablature above.
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Amongst the teachings in the text is the belief that Jesus would come to earth and physically reign as monarch for 1000 years during an age of righteous delight. This belief was regarded as fairly orthodox in the early church (e.g. it was held by Irenaeus, and Justin Martyr), however, the later church came to view Revelation as more allegorical. The dispute with Nepos, as found in Eusebius is in fact, the first instance of premillennialism ever being refuted.
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Book IV was entirely new to the Dunciad B and had been published first as a stand-alone concluding poem. Pope himself referred to the four-book version "the Greater Dunciad", in keeping with the Greater Iliad. It is also "greater" in that its subject is larger. Book IV can function as a separate piece or as the conclusion of the Dunciad: in many ways its structure and tone are substantially different from the first three books, and it is much more allegorical.
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By the end of the summer of 1918, Orpen was mentally exhausted and his works became increasingly theatrical, less realistic and more allegorical. In Harvest (1918), which shows women tending a grave covered in barbed wire, he used a garish palette of colours to emphasize the unreal nature of the scene. While Bombing: Night and Adam and Eve at Peronne seem somewhat flawed compositions, other paintings were far more successful. Most notably, The Mad Woman of Douai is a harrowing depiction of the aftermath of a rape.
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2 : Iss. 1. Something Different is also contrasted against Chytilová's following two films, 1965's Pearls of the Deep and 1966's Daisies. In particular, the three films display a progression in Chytilová's use of structure, with Pearls of the Deep as a stepping stone between the tightly structured Something Different and the anarchic Daisies. Similarly, Something Different is an example of Chytilová's use of the style of cinema verite in her early career, contrasted against more allegorical works such as Daisies and Fruit of Paradise.
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Following the War it broke from typical American clichés and took on more of a savage bite, especially compared to the more allegorical tendencies of American editorial cartoons. At Le Devoir, Robert Lapalme was the first to cartoon in this particularly Canadian idiom, and in 1963 organized an International Salon of Caricature and Cartoon in Montreal. Lapalme was later followed by Duncan Macpherson at the Toronto Star, Leonard Norris at the Vancouver Sun and Ed McNally at the Montreal Star. These cartoonists frequently took political positions contrary to those of the papers in which they were published.
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For example, how Goodman extended the "paranoiac dream" of The Trial into one of "repressed homosexuality", and turned "The Burrow" into a story of the mother's body and the threat of the father's penis. These arguments, in Widmer's eyes, dampened Goodman's argument that the "natural theology" in Kafka was more allegorical of his self and psychosis than of bureaucracy. Simon O. Lesser in Modern Fiction Studies faults Goodman with over-conflating the story with the author. Goodman, says Lesser, judges The Trial by an "extrinsic philosophical standard" despite the novel being a projection of the author's thought and not necessarily a profession of the author's beliefs.
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In fact, I believe that it is easy to incorporate Darwin and Intelligent design into a meaningful conception of how we humans came into being... :We have frameworks built into our system to integrate the findings of science into our religious and theological beliefs. That is because we believe that the natural world, and the way it works, was created by God and therefore its workings must be consistent with our religious beliefs. :...One of the most well known ways our tradition has been able to hold onto both the scientific theory of evolution as well as the concept of a purposeful creation was by reading the creation story in Genesis in a more allegorical sense.
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He worked as a decorative artist and studied at Accademia di Belle Arti di Brera in Milan and had some success as a painter, but eventually grew tired of the strictures of the academy and relocated with his family to Brianza in the foothills of the Alps where he adopted a more naturalistic approach, capturing the landscapes and daily lives of the workers. A visit from the art dealer and critic Vittore Grubicy, who had discovered and promoted Segantini, around the end of 1886 or beginning of 1887 with news of the latest developments in painting sparked Segantini's interest in Symbolism and Divisionism; from that point on he began to produce more allegorical studies, often set in the bleak, snowy, clearly lit landscapes of the Alps.
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The erotic appeal of the subject is evident, but some critics have argued for a more allegorical meaning to do with the appreciation of beauty through both the eyes and ears, and the superiority of the former.Falomir, 189–190, note 30, summarizes the "passionate debate", as does Christiansen; Prado Whereas the two Prado organists still seem to be playing, with one hand on the keyboard in the first version, and two in the second, the Berlin organist has abandoned playing to gaze at Venus, a point given great significance by Erwin Panofsky, as representing the "triumph of the sense of sight over the sense of hearing".McIver, 13–20; Panofsky quoted in Yearsley The depiction of the organs has been criticized by organ scholars: "The pipes are too squat, and if they sounded at all would produce a tubby, inelegant wallowing".Yearsley The lutenists are able to turn their instruments along with their body, and both seem to continue playing.
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