Word: paradoxically
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Truth and Beauty. A glum view of life at The New Yorker! Gill does not dwell on this paradox, but it is not hard to explain. Ross, Shawn and the rest have successfully set up as taste makers over a 50-year period when cultural presumptions have changed horrendously. The New Yorker remains a throwback to Matthew Arnold's Victorian faith in a secular religion of truth and beauty. Eustace Tilley, the magazine's monocled symbol, is clearly an Arnold disciple turned dandy. To be impeccable, graceful and hard-hitting all at the same time is demanding work...
Though the Hartford discussions brought out many theological differences, conservatives and liberals alike agreed on the necessity of Christian social involvement. However, a paradox was noted. The declaration insists that politically based theologies, which were created to foster social impact, have done just the opposite. Even Political Activist Coffin joined the group in condemning an idea on which he has often preached, that "the world must set the agenda for the Church." The view from Hartford is that Christianity will be too weak for sustained attack on social evils -or for anything else-unless it first seeks the transcendence, power...
...sounds like R.D. Laing's Knots, where after you've finished untieing them all, you're left with the same questions you started out with. There is no compassion, no attempt to understand, just glee in the recognition that the paradoxes of life can be stated in different ways, all very logical and all sharing one thing in common, paradox...
...PHANTOM OF LIBERTE. A Series of surreal blackout sketches by Luis Buñuel, loosely grouped around the theme of man's perverse pleasure in paradox. Buñuel creates in this film a paradox of his own: a work that is carbolic and tonic all at once...
...Athena sprang full-grown from the brow of Zeus, much of 20th century drama sprang from the mind of Luigi Pirandello. His plays are intellectual position papers outlining the dominant themes of dramatists to come-alienation, absurdity, metaphysical paradox, and an almost eerie psychological portraiture. Since The Rules of the Game is an early Pirandello play, dating from 1919, these themes appear in relatively embryonic form. In some ways, Rules most nearly resembles the young Pirandello's naturalistic short stories, set against the backdrop of his birthplace, Sicily. Like them, it evolves along what might be called Mafia lines...