Contents -- the 1984 Apple Super Bowl commercial as intervention -- Porte des Morts as Neutrino -- the cabriolet as metempsychosis -- the seahorse as transubstantiation -- Pernkopf 's Atlas as Interregnum -- habeas corpus as confession -- house fire as bildungsroman -- the oboe in Handel's largo from Xerxes as elegy -- the short brutish life of Samantha Smith as control -- aboriginal cave painting as difficulty -- purdah as polemic -- the Great Molasses Flood of 1919 as allegory -- the landmine as opiate -- Ridley Scott's Gladiator as Partitive Genitive -- the long jump as teleportation -- mal amour as disciple -- Dosso Dossi's Saint George as Controvertible -- crossing the South China Sea as analgesia -- figurative poem as psychostasia -- the last elephant in Burundi as vessel -- Nick Drake's "Pink Moon" as Infatuation -- Hanging Rock as Intervention -- domestic violence as Noh play -- Pharaoh's Daughter's Motivation as New Criticism -- the excavated foundations of the Salem Village parsonage as resipiscence -- Rembrandt's The Storm on the Sea of Galilee as Semiotics -- Arctic Summer as Analogy -- Rage Against the Machine as Plate Tectonics -- Vietnamese Dictionary Definition as Self-Portrait -- the final scene in Akira Kurosawa's Ran as condition -- Lazarus as Ambiguity -- the Blue Grotto as gestation -- Stravinsky's [line diagram] as Approximation -- "Jisas Yu Holem Hand Blong Mi" as Dream of Reunification -- the knight's soliloquy as vespers -- the Shroud of Turin as admonition -- Emmett Till's Open Casket as La Pietà -- self-immolation as self-immolation -- snow angels as Michael Furey -- untitled as apologia -- Richard Nixon's 1972 Christmas Bombing Campaign as Gospel -- ultrasound as palinode -- the finite as infinite -- imitative fallacy as jeremiad -- the long jump as bullet-time.

Doug Flutie's 1984 Orange Bowl Hail Mary as Water into Fire -- winter tragedy as fire into air -- Rutger Hauer's Final Lines in Blade Runner as Air into Space -- banh chung as aesthetic -- Notes -- Acknowledgments.