Sentences with phrase «taken as an allegory»

Evolution could be seen as God's method of creation, and the Genesis account of creation taken as an allegory, they said.

I also believe that the Bible is meant to be taken as allegory, not scientific fact, and that young earth creationists and evolution deniers are among the dumbest people on the planet.

Additionally, the entire story can be taken as an allegory of social upheaval.

Taken as an allegory for a powerful man who doesn't entirely understand the scope of his power and its consequences, the picture's disregard for coherence and narrative linearity make some sense as well.

The Art Gallery of Hamilton owns the seminal work Horse and Train, often taken as an allegory for death.

Not exact matches

The problem with Christianity is that you've taken fictional stories meant to stand as allegories and moral lessons... and attempted to force them into being literal and factual.

I've talked with Jews about this matter, and they said the stories in the Torah (Adam and Eve, Noah's Ark, etc.) aren't meant to be taken as literal, historical facts, but as allegories and moral tales.

The revelations that finally materialize are of an unexpected and downright inexplicable sort, exposing the proceedings as a self - conscious biblical / Grimm's fairy tale allegory about crime and punishment — as well as the cost of refusing to take responsibility for one's actions.

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.

This alarming horror film, a brilliant debut for Australian director Jennifer Kent, is as hard to shake as its title character whether you take it as a straightforward monster film, a mental illness or grief allegory, or get hung up on its minefield of taboos (mothers who don't much like their children / over-medication of children / weapons in schools).

Whether you view these two pieces as allegories for our fallen times, as postmodern reconstructions of films that were never made and events that never took place, as the sustained pedantry of a lunatic, or as a comprehensive encyclopædia of human absurdity and banality, they are ingenious, kaleidoscopic works that will boggle the brain and tickle the fancy.

Though Princess Mononoke deals with green philosophy and Spirited Away can be read as an allegory of child prostitution in Asia, the images of noble pigs and pre-bellum fascism are too broad and obvious to be taken without a certain cynicism.

Karen Heagle takes her self - portrait as a male from Egon Schiele, L. J. Roberts sharpens a memorial to the Stonewall riots by George Segal, and Alyse Ronayne treats her studio to a messy «real allegory» after Gustave Courbet.

Curves aside, the element's recyclable material is the first hint to the eternal return theme, which later takes the form of more or less literal references to the myth of Sisyphus (Marcell Jankovics, Koenraad Dedobbeleer) and the Uroboros (Pedro Barateiro), as well as more abstract sculptural allegories.

Kabisch's aesthetically ironic figuration of humans takes the physical body as an allegory of our society; using the self to explore mankind's manners and paradoxes.

A triple translation, as art critic Michele Robecchi notes, through which the artist stages her own allegory of memory and time, making visible the redefinitions that take place when memories overlap.

A political allegory that wanders into the surreal, the piece is a collective experience for actors and audiences alike as they take part in an endurance - testing performance drama that travels through the Bath's heated rooms and interior spaces, each conveying a shift in physical sensation and emotional atmosphere.

Kevans takes the allegory «Ship of Fools» as the title for her latest series of paintings which addresses her interest in the changing perception of madness and its relationship with societal notions of success and achievement.

In his writing, Kabakov poetically imagines Malevich as a headmaster selecting students for summer camp — an allegory for those artists who will — and will not — be taken into the future.»