Word: themes
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...movies, Reservation Road and Things We Lost in the Fire, take up this theme. In the former, a lawyer named Dwight Arno (Mark Ruffalo) is rushing to return his son to his estranged wife, when his car hits and kills a small boy. Panicked, he flees the scene, becoming a guilt-ridden hit-and-run driver. In the latter, a father goes out to buy ice cream for his family, intervenes in a street corner act of domestic violence and is murdered for his trouble. Both movies concern themselves primarily with the aftermath of these shocking crimes, Reservation Road...
...closing lines of a poem Samuel Johnson composed in 1747 to commemorate the opening of the Drury Lane Theatre in London, were applicable to the “pomp of show” of the NCT’s opening. But they may also fit with a prevalent theme in her new tenure: A bid to rescue the “charms of Sound” and “scenic Virtue...
...among postmodern intellectuals and would-be revolutionaries in France or smugglers pushing illegal substances in Japan. All of the characters in the book are well-read, well-traveled, and well-aware of the perils of the twentieth-century lifestyles they lead. In that sense, the underlying theme of despair is in almost every paragraph, even the ones that catch Ricardo and his bad girl at a truce. There is a suggestion that the abnormality of their relationship is merely a particular strain of a disease we’ve all caught, a suggestion that the unconventional is today?...
...Project. Zimmerman’s adaptation is a compilation of ten ancient Greek and Roman myths, some of which were taken from the original Ovid collection and others which were included because of their theatrical possibilities. She then rewrote the stories to include water as an underlying theme. “My original idea for the show was myths-in-water and the script was informed from that from the beginning,” writes Zimmerman—who first produced the play years ago at Chicago’s Lookingglass Theater—in an e-mail...
Irony is the essential theme in “Contingency, Irony, and Solidarity,” the book in which Rorty makes his most ambitious foray into literature and aesthetics. Nietzsche and Heidegger are his heroes as ironists, historicists, and slayers of metaphysical chimeras, though Rorty takes them to task for exempting themselves from their own exuberant irony. Some historical or ontological apocalypse is always about to unfold for these German Dionysians, but Rorty insists incessantly on his own contingency. He wants us to believe that his words have no more truth than anyone else?...