Not exact matches
In the great Western civilizations, this manifests itself partly
by their individual spheres isolating themselves and each of them establishing its own basis and order, and partly
by the principle itself losing its absolute
character and validity, so that the holy norm degenerates into a human convention, or
by the attachment to the absolute being reduced, avowedly or unavowedly, to a mere
symbolic - ritual requirement, which may be adequately satisfied in the cultic sphere.
Some myths contain within themselves the nexus of a concrete historical event experienced
by a group or
by an individual while many have lost their historical
character and contain only the
symbolic expression of a universal experience of man.
When aristocracy gives way to some other stable social form, aristocratic manners are replaced
by a system of
symbolic acts that express the
character of the new society.
Process theism need not dissolve these particularities into
symbolic manifestations of universal truth, since it can proclaim a God vitally interested in precisely these particularities whose activity is shaped
by their peculiar
character.
[One could read this story as a
symbolic tale of Eden like the early chapters of the Biblical book of Genesis, with its prototypical Adam and Eve
characters, the natural bounty of God's generous gifts, the biting of the apple, temptation, sin, and subsequent banishment from «heaven»
by the coming of a fiery «hell.»]
The action sequences are well - staged and some of the more dramatic and
symbolic moments feature
characters surrounded
by bright and beautiful visuals.
I find myself serenely untroubled
by the Faulkneroid elements in his
character — to me they seem grand and
symbolic and universal.
I'm influenced
by their ability to tell an entire story through signs, patterns, and
symbolic characters» — a clear echo of the comic books that once set a remarkably versatile artist on his path.
Influenced
by the history of painting, especially Abstract Expressionism, Hancock transforms traditionally formal decisions — such as the use of color, language, and pattern — into opportunities to create new
characters, develop sub-plots, and convey
symbolic meaning.
It features: a series of black - and - white photographs of elderly actors
by Liu Zheng that play with conventions of ethnographic and opera photography; two videos
by Chen Qiulin that make use of traditional opera
characters to respond to changes wrought
by the Three Gorges Dam; The Forbidden City (Zijincheng)
by Liu Wei, a lyrical video of theatrical «glove puppets» (budai kuilei) shown publicly for the first time; and videos
by Cui Xiuwen that connect to opera in more oblique ways, through performative elements and
symbolic props, gestures, and costumes.
Ostensibly, his deceptively simple works (drawings, paintings and animations — reflecting choices of medium, which are solidly within the mainstream tradition of the Japanese graphic story - telling tradition of Manga) is predicated around self - portraits of his alter ego, «Bunny», and his adventures in the contemporary world, surrounded
by a host of other reappearing
symbolic characters.
Inspired in part
by her study of 17th - century Dutch and Flemish painting, Heagle's works take up still life and the genre painting as mutable formats to be invested with
symbolic meaning, portraying animals, lava lamps, knights» armor, and
characters from television dramas with subtle irony.
Using beautiful custom - made tables crafted
by her furniture - designer husband, Martino Gamper, Upritchard creates nostalgia - laden tabletop tableaux that explore asceticism and excess
by dwarfing
symbolic human
characters and archetypes with cast - off detritus from everyday life.