Sentences with phrase «many classical myths»

For a classical myth of Renuka see MBH.

Classical myth - makers didn't spend much time with this constellation, although it was thought to represent an uncharacteristically wise centaur that figured in the mythology of Heracles and Jason.

Harry Potter director Chris Columbus tackles another childrenâ $ ™ s fantasy novel in this teenage take on classical myth.

The lesson involves group work and introduces pupils to a wide range of mythological creatures from Classical myth to Harry Potter.

Tapestry is the art form of grand houses: depicting classical myths, historical and religious scenes and epic battles.

Impulses and returns is a sculptural project linked to works that I have been doing in recent years, which display relationships between autopsies, anatomies, deities and classical myths, traditions and popular superstitions.

Installation view of works by Don Voisine June 24 — September 24, 2007 P.S. 1 Contemporary Art Center presents the first of an ongoing series, Orpheus Selection, inspired by the museum's unique basement boiler room and the classical myth of Orpheus, the bard who attempted, unsuccessfully, to rescue his bride Eurydice from the underworld.

Indeed, classical myths warned of the detrimental consequences of such vices as self - love, vanity, and pride.

Twombly often quoted the poets as Stéphane Mallarmé, Rainer Maria Rilke and John Keats, as well as many classical myths and allegories in his works.

His first works were naïve paintings of remembered Greek scenes and episodes from classical myth, on display in his first show, at Contemporary Arts on 57th Street, in 1938.

While the subjects of their works were taken from classical myths, Cézanne did not use direct literary sources.

The artist's practice continues to foreground portraiture and the figure, often seemingly introspective and irreverent, referencing both classical myths and popular culture.

Wallace is co-editor, with Jennifer Hirsh, of Contemporary Art and Classical Myth (2011), and with Nora Wendl, of Architectural Strategies in Contemporary Art, (2013).

In the mid-forties the artists of the New York School gradually stopped evoking classical myths (to which both surrealist artists and the existentialist writers made frequent recourse) and they looked beyond surrealism toward a subject matter of even more immediate and personal introspection.

In this exhibition, we find a select group of artists from across the country and abroad, who are united by a shared interest in the timeless appeal of classical myths, the imaginative nature of storytelling and visual fantasy.

He might have seemed, at the time, to be speaking for the great cultural movement about to emerge — for James Joyce, with his layering of classical myth and the profane reality of early - twentieth - century Dublin in Ulysses; for Picasso, whose postwar art of pastiche seemed to disassemble and recombine historical styles just as his earlier work had taken apart and reconstructed pictorial space; for Stravinsky, whose music had found a sense of modernity in both primitive ritual (The Rite of Spring) and the mincing artifices of the eighteenth - century ballroom (Pulcinella), and who sought for his Oedipus Rex «a medium not dead but turned to stone.»

Not exact matches

It would be more in accord with the spirit of myth to regard man as just one element in an infinite universe — even the New Testament does so in clear and classical language; it says, not «God so loved mankind», but «God so loved the world».

It may be pertinent to say that Bultmann, when he is speaking of myth, appears to be speaking solely within the context of classical philology and of the historical study of religions that has rested upon its research.

Do these pronouncements also reflect pride in the more classical sense as depicted in the Babel myth?

Unlike the pagan religions of classical antiquity, e.g. ancient Egypt and the Far East, Christianity does not seek to explain the physical phenomena of the material world as a dramatic struggle between warring gods and goddesses, i.e. μυθος (myth).

Although Schleiermacher does not use the term, the classical expression of this aspect of myth is to be found in his Addresses on Religion.

Whether formulated by Durkheim (a system of beliefs and practices related to sacred things), by Weber (that which finally makes events meaningful), or by Tillich (whatever is of ultimate concern) religion in its «classical» sense refers not so much to labels on a church building as to the imagery (myth, theology, and so forth) by which people make sense of their lives — their «moral architecture,» if you will.6 That human beings differ in their sensitivity to and success in this matter of «establishing meaning» there can be no doubt.

The historian of religions whose field of investigation is, for instance, Vedic India or Classical Greece, is not required to master Chinese, Indonesian, or Bantu in order to gain access to the Taoist religious documents, the myths of the aborigines of Ceram, or the rites of Tonga for use in his research.

What Susskind is saying, however, is that locality in this classical sense is a myth.

Leone brought back a masterpiece, a film that expands his baroque, cartoonish style into genuine grandeur, weaving dozens of thematic variations and narrative arabesques around a classical western foundation myth.

While watching The Killing of a Sacred Deer I found myself trying to identify the deeper meaning behind its stylised acting, clinical visual style, and themes of hubris and revenge (taken from the classical Greek myth of Iphigenia).

A powerpoint aimed at GCSE students studying Classical Civilisation: Myth and Religion Module.

- Mary Lefkowitz is a professor of classical studies at Wellesley College and the author of Not Out of Africa: How Afrocentrism Became an Excuse to Teach Myth as History.

It offers a starting point to learn about the wider influence of ancient Greek culture (gods and myths) and to consider the lasting impact of classical civilisations.

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Cruises introduce you to the history, art, myths and culture of the classical civilizations.

Moving between a graphic sensibility, an interest in creation myths and the use of found materials and detritus, the artists reference various classical tropes of blackness as sites of origin — fantastical and performed, important yet perhaps illusory.

And in a few rare instances the old - age myth of classical antiquity — the feeling that the crimes and follies of mankind must be accepted with resignation.

Michelangelo Pistoletto's thrift - shop ruminations on the classical world, Sherman's theatrical denigrations of the old masters, Matthew Barney's stylized and unctuous myth - making, Andy Warhol pissing on a copper canvas, and Pablo Picasso, whose inclusion presumably lends blue - chip credibility to this motley collection of objects.

Rather than being drawn to a specific style of the past (he has utilized reproductions of paintings by Lorenzo Lotto, Nicolas Poussin as well as Classical sculpture), Paolini is «attracted to the myth of the why, why one makes art.»

«There is a myth surrounding it, but it is also very classical.»

Featuring classical Greek Byazntine inspired images from traditional myths and legends, the entire courtyard area of the school was transformed.

Each of the four artists have their own landmark pieces, Nitsch for example conceiving his Orgies Mysteries Theatre — an all - encompassing synesthetic performance that references classical theatre, cults, religions, and myths.

As seen in this meditation on art and interpretation, Indian abstract painter Paramjit Singh's landscape paintings of the Kangra Valley open a free play of imagination, evoking diverse Eastern and Western, classical and folk associations, from Sanskrit poet Kalidasa and local myths and legends to haiku and Alice in Wonderland.

Laura Krifka's work feels both classical and contemporary — a collection of myths that transcend time, -LSB-.....]

In Rapture, a life - size bronze of a woman emerging from the belly of a howling wolf, it's birth and death, myth and animism, rolled into classical form.

The narrative of An Answer, begins with myths of classical antiquity, moves towards Renaissance intellectual history, modernity, and, ends finally, with an apocalyptic time beyond our time where that dripping paint has become the form of trees and archways.

Her practice has been described as engaging in her own unique form of myth - making, one in which the interweaving of fact with fiction opens up possibilities for another group of symbolic female characterisations, markedly different from those that appear in either classical history or popular culture.

Our presentation of these myths, however, must be in our own terms, which are at once more primitive and more modern than the myths themselves — more primitive because we seek the primeval and atavistic roots of the idea rather than their graceful classical version; more modern than the myths themselves because we must re-describe their implications through our own experience.»