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Not the torturer will scare me
Nor the body's final fall
Nor the barrels of death's rifles
Nor the shadows on the wall
Nor the night when to the ground
The last dim star of pain is hurled
But the blind indifference
Of a merciless unfeeling world

And each small candle
Lights a corner of the dark...

goya bu resimde, dönemin kasvetini, donuklugunu, infazın korkunçlugunu ve ölüm gibi kacınılmaz sonunu, mimiklerle, duruş ve renklerle bize hissettirmeyi basarmistir.

Examples of Goya's technique used to accomplish this effect are seen in his dynamic use chiaroscuro,* his particular composition of facial expressions and body posturing and raw, candid brush strokes. His combined techniques work in their entirety to amplify this painting's overall emotional appeal. This essay claims that Goya's technical treatment of The Third of May 1808 suitably commands attention and arouses the nationalistic sentiments of the painting’s Spanish audience.

This is the case, today, with the very idea of content itself. Whatever it may have been in the past, the idea of content is today mainly a hindrance, a nuisance, a subtle or not so subtle philistinism.

Though the actual developments in many arts may seem to be leading us away from the idea that a work of art is primarily its content, the idea still exerts an extraordinary hegemony. I want to suggest that this is because the idea is now perpetuated in the guise of a certain way of encountering works of art thoroughly ingrained among most people who take any of the arts seriously. What the overemphasis on the idea of content entails is the perennial, never consummated project of interpretation. And, conversely, it is the habit of approaching works of art in order to interpret them that sustains the fancy that there really is such a thing as the content of a work of art.

Because Mr. Jones is out of the office for the next two weeks I am acknowledging receipt of your letter dated May 20, l983. It will be brought to his attention immediately upon his return.

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there was a self serving aspect to Mill's portrait, since he sought, by his argument, to ''make the ordinary many see that the few unusual souls