"Monos," directed by Alejandro Landes, is one of those allegories that is cagey about exactly what it is allegorizing.
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He also knows that in the specific kind of alienated social situation he's allegorizing, we reach for humor as a way of coping.
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From cemetery monuments and statues allegorizing reunification to an obelisk that functions as propaganda for "Lost Cause" rhetoric, the city's monuments make a blanket approach impossible.
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In the meantime, it was also banned in Taiwan because of its scathing satire of the Nationalist government.Huang, Yu. "Allegorizing the Existential Crisis in Modern China. Qian Zhongshu’s Philosophical Novel “Fortress Besieged”." World Literature Studies 10, no.
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The later art of rhetoric treated the personification of abstract concepts as an artistic device, which devolved into the allegorizing that Late Antiquity bequeathed to patristic literature. In a further euhemerist interpretation, Dikē was born a mortal and Zeus placed her on Earth to keep mankind just. He quickly learned this was impossible and placed her next to him on Mount Olympus.
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The Biblical references to reward and punishment can be applied only to the body (Saadia, "Emunot we ha-De'ot," vi. 4). This theory of an intermediary power, and the system of allegorizing all the Biblical passages concerning God, upon which Benjamin insists again and again in his commentaries on the Bible, were borrowed from the writings of the etc. Magâriyah (Men of the Caves). This etc.
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Again, the themes are familiar – the timeless human condition; history as progressive, cyclical, or entropic; literature, philosophy, and religion as the touchstones of civilization. Three acts dramatize the travails of the Antrobus family, allegorizing the alternate history of mankind. It was claimed by Joseph Campbell and Henry Morton Robinson, authors of A Skeleton Key to Finnegans Wake, that much of the play was the result of unacknowledged borrowing from James Joyce's last work.
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The Vestals were used as models of female virtue in allegorizing portraiture of the later West. Elizabeth I of England was portrayed holding a sieve to evoke Tuccia, the Vestal who proved her virtue by carrying water in a sieve.Marina Warner, Monuments and Maidens: The Allegory of the Female Form (University of California Press, 1985), p. 244 ; Robert Tittler, "Portraiture, Politics and Society," in A Companion to Tudor Britain (Blackwell, 2007), p.
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The project comprises some of waterfront landAllgemeine Information, Rheinauhafen, Modernes Köln mainly used for offices, cultural institutions, hotels and dwellings. The formerly commercial port is now being used as a marina. Architectural landmarks are the former Siebengebirge wharf warehouses and the three Kranhaus buildings (from south to north "KranhausPLUS", "Kranhaus1" and "Pandion Vista"), allegorizing the historical harbour cranes. The middle one ("Kranhaus1") was awarded the MIPIM Award in Cannes on March 12, 2009 in the category of Best Business Centre.
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107 While Fulgentius claims to explain the Aeneid as an allegory for the full range of human life, the work seems to end rather abruptly, and the telling only goes as far as manhood. There is no evidence to suggest, however, that any part of the original text was lost. His hurried finish was probably caused by a loss of interest in its completion. By the time of the Content of Virgil's writing, the tradition of allegorizing Virgil was not new.
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Harpocratic Eros, terracotta figurine made in Myrina, Greece, c. 100–50 BCE. (Louvre) Inexpensive cast terracotta images of Harpocrates, suitable for house shrines, are found scattered throughout the Roman Empire. Thus Augustine of Hippo was aware of the iconic gesture of Harpocrates: Martianus Capella, author of an allegorizing textbook that remained a standard through the Middle Ages recognized the image of the "boy with his finger pressed to his lips" but neglected to mention Harpocrates' name: "[Q]uidam redimitus puer ad os compresso digito salutari silentium commonebat".
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According to Tor.com's Erika Nelson, the trilogy parallels the story of African slaves in America and the conflict that later generations of African Americans feel regarding their integration into American society. The human-Oankali hybrids feel that they have somehow betrayed their human side by integrating into Oankali society, but at the same time, because of the vast power imbalance, they never really had another viable option. In addition to allegorizing slavery, the trilogy more generally is written "in the context of colonization," as Nelson puts it, raising broad questions of coercion and agency.
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Richard Landes observed the 4th century as a time of major shift for Christian eschatology by noting that it "marked a crucial moment in the history of millenarianism, since during this period Augustine repudiated even the allegorizing variety he himself had previously accepted. From this point on he dedicated much of his energy to ridding the church of this belief."Richard Landes, "Lest the Millennium be Fulfilled: Apocalyptic Expectations and the Pattern of Western Chronography 100-800 CE," in The Use and Abuse of Eschatology in the Middle Ages Mediaevalia Louvaniensia.
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Furthermore, Ibn Hanbal "rejected the negative theology (taʿṭīl) of the Jahmiyya and their particular allegorizing exegesis (taʾwīl) of the Quran and of tradition, and no less emphatically criticized the anthropomorphism (tas̲h̲bīh) of the Mus̲h̲abbiha, amongst whom he included, in the scope of his polemics, the Jahmiyya as unconscious anthropomorphists." Ibn Hanbal was also a critic of overt and unnecessary speculation in matters of theology; he believed that it was fair to worship God "without seeking to know the 'mode' of the theologoumena (bilā kayf)," and felt it was wise to leave to God the understanding of His own mystery.
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207 The death in 1621 of the falconer turned supreme commander may have improved the tensions between mother and son, but Conde, considered the most dangerous of Marie de' Medici's foes quickly stepped in to fill the gap. Rubens’ deliberate vagueness would be consistent with his practice of generalizing and allegorizing historical facts especially in a painting about peace and reconciliation.Millen & Wolf, p. 203 Marie, desiring vindication for the death of her close personal friend, Concino Concini, would likely have intended a more direct personal allusion to Constable de Luynes, but Rubens preferring to keep to allegory, avoided specifics that could later prove embarrassing.
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A Secret History of Pandora's Box is an English erotic novel published anonymously in 1742 by the London publishers Mary Cooper and her husband. Its focus on the female genitalia proceeds with reference to Greek and Roman mythology, a common trope of the time. Another common and more specific trope in much erotic fiction of the time is allegorizing "the parts of the female sex" as a cave. The trope of Pandora's box was already associated with the female body in the previous decade, in Jonathan Swift's "The Lady's Dressing Room", and A Secret History proposes that the female parts "may well have been the original Pandora's box".
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It was most likely brought up by the Homoiousian party. In their opposition against the Homoian party supported by Emperor Constantius II, the Homoiousians claimed the legacy of Lucian and adopted the definition of 341 as their creed. Other attempts to reconstruct Lucian's theology have started out with Paul of Samosata, whose rejection of the allegorizing tendencies of the Alexandrian School, and especially those of Origen, was transferred to Lucian. Because these identifications created a contradictory picture of Lucian, some scholars have proposed the existence of two Lucians, the first being a follower of Paul of Samosata, the second being Lucian the martyr, a theologian in the Origenist tradition and the teacher of Arius and Eusebius of Nicomedia.
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This melodrama, therefore, assumes the dimensions of a political fable about people who look for love in the wrong places and find it on the run. The title role is played by a young actor, Patrick Garcia, who bears the full weight of his film's dilemmas, but never shows signs of weariness, only the strain of a kind of portrayal that acts, thinks, and makes sense of experience with the wish not so much to shift the burden of living with the imperialist trauma as to share it as part of the collective predicament. His character embodies the terms of his name Amboy or Batang PX, again allegorizing his nation as an American commissary of duty-free labor.Flores, Patrick.
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The evangelist's theology more likely depends on what the gospels have in common as well as their differences. Harrington says, "over-theologizing, allegorizing, and psychologizing are the major pitfalls encountered" in redaction criticism. Followers of other theories concerning the Synoptic problem, such as those who support the Greisbach hypothesis which says Matthew was written first, Luke second, and Mark third, have pointed to weaknesses in the redaction-based arguments for the existence of Q and Markan priority. Mark Goodacre says "Some scholars have used the success of redaction criticism as a means of supporting the existence of Q, but this will always tend toward circularity, particularly given the hypothetical nature of Q which itself is reconstructed by means of redaction criticism".
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Attendants in divine costume, among them a "Pluto" who escorted corpses out, were part of the ceremonies of the gladiatorial games.K.M. Coleman, "Fatal Charades: Roman Executions Staged as Mythological Enactments," Journal of Roman Studies 80 (1990), p. 67. Tertullian calls the mallet-wielding figure usually identified as the Etruscan Charun the "brother of Jove,"Tertullian, Ad nationes 1.10. Augustine regularly calls the Roman ruler of the underworld Pluto in De civitate Dei; see 2.15, where Pluto and Neptune are described as the brothers of Jove; 4.10, in noting their three-way division of sovereignty over the earth and with Proserpina as Pluto's spouse (coniunx); 4.11, in deriding the allegorizing of divinity in physical cosmogony; and 6.7, in denouncing the mysteries (sacra) as obscene.
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480), as he repeatedly uses the myth of double man allegorically in his interpretation of Scripture ("De Opificio Mundi," 24; "De Allegoriis Legum," ii. 24). It must furthermore be remembered that Philo in none of his other works mentions these colonies of allegorizing ascetics, in which he would have been highly interested had he known of them. But pupils of Philo may subsequently have founded near Alexandria similar colonies that endeavored to realize his ideal of a pure life triumphing over the senses and passions; and they might also have been responsible for the one-sided development of certain of the master's principles. While Philo desired to renounce the lusts of this world, he held fast to the scientific culture of Hellenism, which the author of this book denounces.
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The novel initially starts with an introduction of the titular character Charlie Chan Hock Chye as an old man talking to an interviewer before transitioning to his childhood, where he is seen working in his family's shop in post-war Singapore. It then shows Charlie Chan's first comic "Ah Huat's Giant Robot" which features a robot that can only understand Chinese. The book then cuts between the life of Charlie and excerpts from his comics, explaining that he was educated in an English school through the generosity of one of his family's shops' customers. This pattern of cuts between comics and his life continues throughout the rest of the novel as the comic steadily changes from one about a Giant Robot to an allegory for Singapore's quest for independence from British Colonial rule, featuring animals and sci-fi epics allegorizing Singapore as a city under the rule of aliens with Lee Kuan Yew as a lawyer who speaks the language of the aliens.
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First reading, first saying Ivan Gundulić, telling the story of the obstacles in the way of a happy love of Miljenko and Dubravka, follows the structure of the pastorals characteristic for his time, especially in Italy, unusually popular in the century in which infatuation between shepherd and shepherdess prevailed in literature. Dubravka was formed under the influence of the very popular plays like Guarini's Loyal shepherd, Tasso's "Aminta" and Sanazzarov's "Arcadia", which were at the time considered peaks of pre-Baroque literature. However, Gundulić expanded the structure of love plot with a storyline whose meaning points out the idea about the size of the dignity of Dubrovnik's freedom, freedom in which according to the righteous divine laws noble, beautiful and good govern, and there is no place for those who through their participation in the government want to annul these laws and customs. With the acts of allegorizing mythological-pastoral world of drama, Dubravka expands the meaning of the plot on the contemporary political world of Dubrovnik and also expands with the convention certain limits of the pastoral and pastoral genre itself.
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