Sentences with phrase «in classical tragedy»

This most recent decision quotes one of the many judges who have been involved in the case commented, as far back as 1980, as having described the parties as «figures in a classical tragedy, bent upon destroying that which surrounds them and especially their monetary inheritance».

The film is clearly rooted in classical tragedy, and there's something noticeably Shakespearean about the manner in which the plot coyly unravels.

Not exact matches

In his book of 1937, Beyond Tragedy, he restated with theological richness some of the great themes of classical Christianity.

The image of the «crucified God» is central to Christian teaching, though perhaps it has not often been taken seriously.2 Instead «God» has been ensconced, in classical theologies, as omnipotently immune to suffering and tragedy.

But the classical prophets, from Amos on, are forced to reinterpret the meaning of the present not only in terms of a heightened sense of Israel's failure to maintain Yahweh's true order in the present, but also in overwhelming awareness of an immediate future charged with tragedy.

By this Buber does not mean tragedy in the classical Aristotelian sense of the downfall of a hero, but rather tragedy in a profounder sense of two men living in opposition to each other, each just as that which he is.

In a throwback to the classical tragedy, severe gift from Greece and Rome, the judiciary, suffused with sleaze and rumours of sleaze, is about committing institutional suicide.

Today, the film remains a heartfelt but shrewdly judged blend of comedy, romance, action and tragedy — a movie that perfectly embodies the classical Hollywood ideal of providing something to appeal to every member of what, in the 1920s, was a wide public still unsevered by demographic categories.

In a novel whose title invokes the grand sweep of an epic, there shouldn't be any surprise when the domestic tale leaps into mythic territory: bouts of hubris, betrayal and thwarted power that spring from the pages of classical tragedies.

While the pairing of their techniques represents stylistic extremes — Bresson's classical roots in Renaissance and Baroque painting and Prata's borrowing of multiple modern styles — together they build a language around representations of movement and stillness, reality and incongruity, tragedy and humor.

The stark Irish scenery with its accompanying sense of tragedy, derived from the days of The Great Famine, found later expression in O'Donoghue's art, as did the knowledge and experience he gained from his father Daniel, who introduced his son to many of the great European cultural traditions derived from Classical Greek art, the Renaissance and later eras.

Depicting ancient, medieval and contemporary warriors, as well as dinosaurs, bears and mythical beasts, along with nudes lifted from classical masterpieces, glossy magazines and salacious websites, Kuksi's Baroque confections treat history as primordial soup — a burbling stew of thrilling highlights and epic tragedies that not only resonate in the mind's eye but also inspire all sorts of emotions — good, bad and otherwise.

They have been cast, like Burton and Taylor, in a variety of showy roles: as painters interested in reviving aspects of the art form in its most staid and classical modes; as Marxist or Marcuseian critics of commodity culture and its discontents; as leering champions of youth movements and counter-culture stylings; as strict, detached, ironic appropriationists; and, finally, as sincere and romantic poets attendant on the tragedy of age's advancing degenerations of the body and of the melancholy states of nostalgia associated primarily with the waning of youthful beauty.