Sentences with phrase «allegory given»

For some, it could be a religious allegory given its themes of survival and the eventual apocalypse.

Whether you are investigating a new claim, halfway through depositions, or a month away from trial — Allegory gives you and your client the upper hand.

Not exact matches

Could the story of the Fall be an allegory for the origins of humanity's tendency to sin based not on «original sin» but on the freedom given to humanity in Genesis 1 and the responsibility given in Genesis 1 to govern ourselves and this world as free agents, not puppets or childishly dependent on God?

It is also possible to recognize other ways of reading the New Testament: not only midrash, but also typology and allegory are modes of reading which, given their assumptions and rules of discourse, are every bit as disciplined and «true» as that offered by the literalist renderings of the historical - critical method.

If there was any other book claiming to be the authority on everything that you kept having to make excuses for like «Well, that part is ment as an allegory» or «God years are different than man years» or «Well, its says to not eat shelfish or pork in the hebrew scriptures, but apparently God changed his mind later, but that part about ga y's stays» I don't think anyone would have given it a second look had it not been at the point of a sword.

The method gave rise to the couplet: Litera gesta docet, Quid credas allegoria / Moralis quid agas, Quo tendas anagogia (which freely translates as: «The literal teaches what God and our ancestors did; the allegory is where our faith and belief is hid / The moral meaning gives us the rule of daily life; the anagogy [or mystical interpretation] shows us where we end our strife»).

There's a chilling moment in act 3 of The Crucible, Arthur Miller's great allegory of McCarthyism, that gives me the shivers every time.

Still, it was a very effective movie, and was successful at making me think, so I still would give it a «thumbs up», though I think the critics are wetting themselves over it mainly because it's «allegorical» (which is probably a pleasant change from all the mindless explosions we've had to deal with this summer) but I don't really like allegory.

Looking at the Mimic series as a sort of allegory of the dangers of technology is a given; locating a man - child, his room encased in a plastic sheath and taking pictures of his neighbours for a collage on his wall, as the centre of a Mimic sequel is something like a stroke of (derivative) genius.

The horror behind this, including the Holocaust allegory Terence Stamp's grandpa seems to be an allusion to, is never given the weight it's deserved in an effort to keep this purely fantastical escapism.

However, it's easy to assume that such a climate exists at any given time of conflict and that the main themes are universal allegory not specific.

Imagery takes precedence over plotting, though, and the latter often gives way to cryptic allegory.

Or perhaps forced to sort out which allegory is identifiable and purposeful at any given time: Aronofsky's ambitions here reveal a fairly coequal plunge into biblical prophecy (from Old Testament furor to New Testament evangelism), environmental metaphor, and, most explicitly, the labors of artistic creation.

A small role in Robert Altman's «Thieves Like Us» brought Fletcher to the attention of director Milos Forman, who gave her the juicy role of Nurse Ratched, the villain in this Ken Kesey allegory about personal freedom that co-starred Jack Nicholson.

Without spoiling too much, the switch in settings from a world of us vs. them to a more corporate - driven environment gives us something to chew on: The shift to a less individualized (i.e., more secure) milieu has resonance in that it suggests that They Drive By Night is actually an allegory of the American Dream circa the post-industrial twentieth century — our conscious or unconscious endeavouring to sell out.

What ensues gives the allegory its macabre twist.

Given the main character's literary ancestry, it's not surprising to see the title evoke the symbolism of the lurid folktales that would eventually be associated with the Grimm Brothers works or the allegory of Stoker's Dracula.

It is through Courbet, the specific artist, the Harmonian demiurge, that all the figures partake of the life of this pictorial world, and all are related to his direct experience; they are not traditional, juiceless abstractions like Truth or Immortality, nor are they generalized platitudes like the Spirit of Electricity or the Nike of the Telegraph; it is, on the contrary, their concreteness which gives them credibility and conviction as tropes in a «real allegory,» as Courbet subtitled the work, and which, in addition, ties them indissolubly to a particular moment in history.

The works evolve into art history as well as allegories perceived by the artist through the twist of expression given by its creator.

Particular focus will be given to the French Revolution, and the role of gender, especially female allegory, in the conceptualization of time.

In the 1980s, parodies and allegories came to stand for Postmodernism, including parodies and allegories of geometry, and much of Chelsea still can not give them up.

The play of shadow and light simultaneously recalls one of the oldest philosophical critiques: Plato's Cave Allegory: that it is the artist's responsibility to create objects that can transcend terrestrial life by giving us a glimpse of the metaphysical.

Selection from the Permanent Collection, Museum of Contemporary Art, Chicago, IL, USA Contemporary Painting / Figuration, University of California at Santa Barbara, CA, USA The Expressionist Image, Sidney Janis Gallery, New York, NY, USA Zeitgeist, Martin - Gropius - Bau, Berlin, Germany Thirty Painters: Given and Promised, Metropolitan Museum of Art, New York, NY, USA Issues: New Allegory 1, Institute of Contemporary Arts, Boston, MA, USA Painting and Sculpture Today 1982, Indianapolis Museum of Art, Indianapolis, IN, USA Landscapes, Robert MillerGallery, New York, N Y, USA Mitchell, Morley, Rockburne: NewPrints and Works on Paper, Xavier Fourcade Gallery, New York, NY, USA Pat, Malcolm Morley Examined, Hampton Arts Hub, (hamptonsarthub)

The six horizontal works, presented under the title «Tapestries / Battles / Allegories,» were given intriguing names, though the paintings as exhibited carry no identifying labels.

Today, Integreon announced a major milestone in that development — an evidence - management dashboard for Allegory users that will allow inside and outside counsel to work collaboratively within a single platform that gives them the ability to analyze all case information for a single matter or across matters.

Allegory doesn't publish pricing information but will give you a free trial and pricing if you contact them.

Allegory can even be used long after a single case is over, to retrieve key information about past cases and give your firm a tactical advantage to get new business.