Always attempting to find balance, he bravely confronts and examines artificial and natural constructs as his main theme; this time, using the circle motif, as metaphor, with its myriad symbolistic
earth and sky-bound meanings to guide and project questions and engage in dialogue about concerns outside of painting and art.
see also #Octothorpe -A Symbolistic
Journey, YouTube (Oct.
Particularly fascinating--although questionable--is Schweitzer's individuation, regarding the Mass in B minor, of the protestant symbolistic
"tendency" within the limits of a highly dogmatic aim, as an expression of an incomplete (and not computable) synthesis between protestant subjective spirit and catholic objective spirit (cf.
Edward Hopper's 1942 painting Nighthawks also makes use of the symbolistic
Metaphors pervade all aspects of our lives and can be verbal, non-verbal, body language or grunts and sighs, physical things or symbolistic
and imaginative (Lawley and Tompkins 2000).
White and Black modern apotheoses, whether thickening the ethnopolitics of modern realism or traversing the imagistic or symbolistic
waves of the modern inscription of selfhood, call our attention to the undying bent of realistic portrayals and their brain-impact on modern American consciousness.
147) Herz himself identified the three modes of staging Wagner's operas as "the illusionistic action stage," as espoused by Wagner; "the symbolistic
dream stage" found in Bayreuth; and his own "realistic action stage" ("Richard Wagner und das Erbe," 129).
It soared a bird, it held its flight, a swift pure cry, soar silver orb it leaped serene, speeding, sustaind, to come, don't spin it out too long long breath he breath long life, soaring high, high, resplendent, aflame, crowned, high in the effulgence symbolistic
, high, of the ethereal bosom, high, of the high vast irradiation everywhere all soaring all around about the all, the endlessnessnessness .
In the first category symbolistic
art has a far better chance than it has when enclosed in a gold frame and hung in a conventional exhibition cheek by jowl with more contemplative works.
Set in a surrealistic environment that includes a psychotherapist's office surrounded by symbolistic
wreckage (designed by Juan Carlos Malpeli), the two-act play moves back and forth in time from 1974 (the day President Nixon resigns from office) to 1963 (the day President Kennedy was assassinated).