Sentences with phrase «lost paradise lost»

October Faces Places (2017, Agnès Varda & JR) VIFF, DP — 7.4 + Claire's Camera (2017, Hong Sang - soo) VIFF, DP — 7.1 Scaffold (2017, Kazik Radwanski) VIFF, DP Maison du bonheur (2017, Sofia Bohdanowicz) VIFF, DP — 6.1 Lost Paradise Lost (2017, Yan Giroux) VIFF, DP Flood (2017, Amanda Strong) VIFF, DP Thug (2017, Daniel Boos) VIFF, DP The Good Fight (2017, Mintie Pardoe) VIFF, DP Sea Monster (2017, Daniel Rocque & Kassandra Tomczyk) VIFF, DP Cherry Cola (2017, Joseph Amenta) VIFF, DP Let Your Heart Be Light (2016, Deragh Campbell & Sophy Romvari) VIFF, DP Blade Runner 2049 (2017, Denis Villeneuve) DP — 5.9 Cave of Forgotten Dreams (2010, Werner Herzog)-- 6.0 Cruel Story of Youth (1960, Nagisa Oshima)-- 6.7 + (500) Days of Summer (2009, Marc Webb)-- 2.6 [down from 3.1] ANPO: Art X War (2010, Linda Hoaglund)-- 5.4 Sherlock Jr. (1924, Buster Keaton)-- 7.5 + Sherlock Jr. (1924, Buster Keaton)-- 7.7 [up from 7.5] Pride Divide (1997, Paris Poirier)-- 4.0 Fabulous!

Not exact matches

Directing the series is Joe Berlinger, the Academy Award - nominated director of the true - crime documentary «Paradise Lost.»

Unlike Dante's Divine Comedy or Milton's Paradise Lost, they are primarily narrative rather than didactic, or more precisely didactic in and through their narrative forms.

Milton exaggerates, but he's surely right that Spenser's fantastic allegories and terse dialogues have a great deal to teach us about the moral life, which is why The Faerie Queene outshines Paradise Lost.

When Milton begins his epic Paradise Lost, «Of Man's First Disobedience, and the Fruit,» he violates the iambic pentameter» the sole rule of his blank verse» with the word «Disobedience» in the very first line.

I even have a problem with «Literature as Literature»: Reading King Lear, I don't think about Shakespeare; reading Paradise Lost, my eye is not on Milton, but the creation.

Stash behind Paradise Lost.

John Milton echoes these lines in Book 1 of Paradise Lost, when he requests inspiration from «chiefly Thou O Spirit, that dost prefer / Before all other Temples th» upright heart and pure.»

(Except once, in a mythic aside: Whitehead cites from Milton, Paradise Lost, Book II, and then adds: «the fact of Satan's journey through chaos helped to evolve order; for he left a permanent track, useful for the devils and the damned» [PR 96].

If it was John Milton's task in Paradise Lost to «justify the ways of God to men,» Dante before him had taken on the responsibility of showing that all that is found in this world and in the next is measured by justice.

He was a fantastic literature critic, who gracefully guided generations of graduate students to a better understanding of Paradise Lost and a rich collection of other medieval works.

Our Concept of «Hell» comes mostly from Dante's Inferno and Milton's Paradise Lost.

So, too, do a Christian nostalgia for a lost paradise, a Christian doctrine of Christ as the eternal Logos, and a Christian meditation that sinks into the interior depths of the self.

It is a melancholy with which I suspect we are all familiar at some level, as individuals and as a race, something that haunts us and of which my sadness is only a fragmentary reminder» the feeling of having lost paradise.

I mentioned these essays to one of my colleagues, who told me of some students of his who bad written about Book IX of Milton's Paradise Lost, in which the Fall is described.

-- Paradise Lost, by John Milton.

More often, though, he aims at a kind of sardonic comedy, as in his «Rejection Note for Paradise Regained,» imagining what John Milton's publishers might have said to his follow - up to Paradise Lost:

It is not that the theses of traditional theology regarding Adam's elevation to grace, his Paradise, his knowledge and so on, are to be unmasked and diagnosed as at the most anthropomorphisms or dreams of a golden age in which mankind expressed in vivid form a longed - for future rather than a past that had once existed and was lost?

So if I find a passage in Paradise Lost that seems to run counter to everything else in Paradise, I immediately suspect my reading and try to find a reading that is coherent with the rest of it.»

On a Trinitarian approach, we understand that we and the world exist in the broader context of the economy of salvation: we should expect to see imperfections and evil, both because we ourselves are fallen observers, and because we are observing a «groaning» Creation, in transition from a lost Paradise to «a new Heaven and a new Earth».

Yet from the very beginning it seem to have been a paradise meant to be lost or at least left behind.

«Paradise Lost suggests that from here on love in marriage and community may be the best thing human beings can seek for themselves.»

The «poetic edifice» of Paradise Lost is finally not so different from the infernally created Pandaemonium: «The Satan who first lifts himself... off the burning lake darkly mirrors his literary creator.»

It is one of the virtues of Quint's book (another is the generosity of critical annotation, amounting almost to a mini variorum edition) that Paradise Lost's still center is given a density so great that reading the poem becomes itself a heroic act; an act difficult to perform, but in its difficulty providing an experience few (if any) efforts of the human imagination are capable of provoking.

I am happy to report that Quint does not engage the perennial if not perpetual controversy (around since the poem was published) about whether Satan is the hero of Paradise Lost.

Four great epics that portray the fate of the soul — The Odyssey, The Aeneid, The Divine Comedy, and Paradise Lost — form the structure of Markos's book.

The deep explication of the role Icarus plays in the poem is in the service of a key thesis: «The myths of these highfliers who fall are further countered in Paradise Lost by the motif of poetic flight.»

Every time I engage with Paradise Lost, I have to renew my acquaintance with the sources and analogues and reestablish the multi-leveled connections that seem to appear to him the instant his eyes meet the Miltonic page.

I suggest reading Paradise Lost if you want to get beyond the one - dimentional characterization of him that we get from Christian scripture.

Religion can not be left out of it as if this man accepts a transfusion he will lose in place on the long awaited earthy paradise and he will be disfellowshipped / shunned by all of his «true Christian» bible observing friends / so called brothers and sisters.

One college student wrote, «I have always pictured him according to a description in Paradise Lost as seated upon a throne, while around are angels playing on harps and singing hymns.»

Paradise Lost worries at the origins of humanity as a species.

The subject of hell, if not attractive, is at least fascinating, as any reader of Dante's Inferno or Milton's Paradise Lost can testify.

If they could only have cast their minds further back, perhaps they might have recalled a lost paradise: green and yellow meadows stirred by tender winds, umbrageous forests and emerald groves, glass - blue mountain peaks melting into azure skies, glittering bays whose diamond waters break in jade and turquoise surges on sands like powdered alabaster — where the rain falls gently, and is transformed by the setting sun into shimmering curtains of gold — where, beyond verdant valleys and limestone caves, lies a palace filled with every delight the senses can endure, enclosing garden courtyards where crystal fountains splash in porphyry basins, intoxicating perfumes hang upon the breezes, undying flowers of every hue shine out amid the greenery's blue shadows...

Open the poetry of Paradise Lost, and soon you're entering vast rooms of Milton's thought on politics, education, and the Christian's relationship to culture.

Fromm says, «Having lost paradise, the unity with nature, he has become the eternal wanderer (Odysseus, Oedipus, Abraham, Faust) •» 61.

Bird, angel, ancestral voice, he spoke in white flame, Calling from the East, calling from Eden, Calling in beauty to the lost children of Paradise.

There never was a Paradise to lose, nature has always been red in tooth.

John Milton (Christian author of Paradise Lost and good acquaintances with Isaac Newton) was a «material monist» — that is, he believed that all creation came out of God's being.

One of his production partners explained to Variety, ««Paradise Lost» is like a biblical «Games of Thrones,» transporting the reader into an internecine world of political intrigue and incredible violence.

It's inherent even in the Christian language of «The Fall,» the foundational understanding that things have all gone wrong, that paradise has been lost.

When he appears to Eve in Paradise Lost, Milton's Satan is the consummate flatterer who beguiles «our credulous Mother» into believing that she is one «who shouldst be seen / A Goddess among Gods, ador'd and serv'd / By Angels numberless, thy daily Train.»

5Areopagitica Paradise Lost and Selected Poetry and Prose.

As an Oxford and Cambridge - educated man, Hawking must know that he is competing against the epochal grand unification theories in Dante's Divine Comedy and Milton's Paradise Lost.

If these names move or describe you, why read the Iliad, or the Commedia, or Macbeth, or Paradise Lost?

By a common feature of human mythical thinking, however, paradise in the end time is thought of as the recreation of a primeval paradise at the dawn of creation, the lost «golden age.»

John Milton (1608 - 1674) had been a secretary to Cromwell but escaped the scaffold at the Restoration and completed Paradise Lost, presenting the human drama as conceived by Christians.

The Talmud includes the cautionary tale of four sages who entered paradise: «Ben Azzai looked and died; Ben Zoma looked and lost his mind; Elisha ben Avuyah became a heretic; and Rabbi Akiba entered in peace and departed in peace.»

In fact, the whole purpose of the discernment of spirits coincides with Milton's purpose in writing Paradise Lost: as Fish has rightly seen (and he was the first to do so), Milton wants us to live through the consequences of sin in our imaginative reenactment of salvation history (no wonder he felt that Paradise Regained was the capstone of his work) in order to keep us from the more dire lessons that life imparts.

Among these he includes the Old Testament story of Paradise Lost, which is the story of an encounter between God and the devil, and the story of the Passion of Christ in the Gospels, which, he says, portrays «a second encounter between the same antagonists».