Sentences with phrase «what other contemporary»

What other contemporary artist demands this?

I'm curious to know what other contemporary novels AP Lit teachers think are just as multi-faceted as these mentioned here.

Hawking's status as superstar scientist led us to ponder what other contemporary scientists people would immediately recall.

Not exact matches

On the other hand, what lends an air of unreality to Kierkegaard's works is that our problems are so much worse than those faced by him and his contemporaries.

At the other extreme are theologies that take the best of contemporary thought as normative and then explain what sense can be made of basic biblical ideas in this context.

Such a contemporary appropriation of the symbol of the Kingdom of God can also make possible our realization of the gospel, or the «good news,» of the death of God: for the death of God does not propel man into an empty darkness, it liberates him from every alien and opposing other, and makes possible his transition into what Blake hailed as «The Great Humanity Divine,» or the final coming together of God and man.

A quick about Abba Pambo — a contemporary of Origen: «If we asked [him] for a word from scripture or some other thing, he would not give us an answer right away but would say, «I haven't figured out the meaning of this word yet»... It normally happened that he spent two or three whole days, or a whole week without giving us an answer saying «if I do not know what sort of fruit this will bear, whether it is a fruit of death or life, I will not speak.»»

In the one understanding of contextualization, the revelatory trajectory moves only from authoritative Word into contemporary culture; in the other, the trajectory moves both from text to context and from context to text, and in the midst of this traffic the interpreter, rather like a police officer at a busy intersection, emerges as the sovereign arbiter as to what God's Word for our time actually is.

The words Santayana uses here are «substantial inheritance» and «lateral tension,» The first is the mode of passage of natural moments into their successors, the second is the mutual pressure on each other of contemporary natural moments which influences what each thus passes into.

His answer was to propose his theory of anomie, which is the sense of being personally unconnected to others, not being in a web of what the contemporary anthropologist Clifford Geertz has called «thick» culture.

In Process and Reality, An Essay in Cosmology 102 Whitehead provides what amounts to a definition of «contemporary»: «Actual entities are called «contemporary» when neither belongs to the «given» actual world defined by the other.»

First of all, responsible liturgical revision can not consist only in the use of more contemporary language or in the avoidance of what are known as «sexist» phrases (which are so dominantly masculine that women often feel excluded from what is going on) or in a return to biblical idiom to replace other (perhaps medieval) terminology.

Then we shall be enabled to trace out what I have called the parallel which exists between the two events, one historical and in the past, the other contemporary and very much in the present.

Edgar S. Brightman, who had himself been working for many years on the development of a nontraditional view of God, rejected Hartshorne's panentheism but praised other aspects of his view of God.35 Reinhold Niebuhr wrote a brief but very sympathetic review, 36 and John Bennett claimed that Hartshorne's was perhaps the best hypothesis about God available to contemporary theology.37 D. C. Macintosh found the book «exceptionally penetrating, stimulating, and instructive,» but by accusing Hartshorne of being too rationalistic he touched on what has been one of the major differences between Hartshorne and most other Whiteheadian theologians.38

But what are my difficulties with the finite gods I and a number of other contemporary theologians have envisioned as softened, chastened, more «dynamic» alternatives?

It's sad when contemporary arguments are made over interpretations of what some guy said 150 years ago vs. what some other guys may have said a couple thousand years ago.

Contemporary Islamic reform: Both Khalidi and Kepel are sharply critical of what they believe are counterproductive approaches currently being employed by the U.S. Kepel argues that the most important battle in the war for Muslim minds will be fought not in Iraq or Israel / Palestine, but in the suburbs of Paris, London and other Western cities where Islam is now a fixture, Two prominent Muslims — Feisal Abdul Rauf and Tariq Ramadan — develop this theme in new books that have attracted considerable attention.

In other words, what separates the classical Christian position on sex from the contemporary anything - goes alternative is not one simple argument, but an entire worldview.

That the Christian Gospel can be unique and yet remain positively related to what is known of God in other gospels seems to be everywhere denied by contemporary theologians.

By placing the dialogue between religion and science within a framework that strongly engages many of the most important currents of contemporary theology, Haught accomplishes what few others have.

The illustration suggests that he should study the theological resources of Scripture, history, and doctrine; and study also, with equal seriousness, what he knows of the related meanings from his own authority of both traditional and contemporary experience; and how to recognize the authenticity of the dialogue, both historical and contemporary, be - tween God and man and the dependence of each on the other.

If the Christian mission allies itself with the forces of contemporary globalization what happens to these «other missions»?

Wounded as it has been by the absolutist claims of 20th - century totalitarianism, contemporary consensus demotes truth — on the one hand to something purely subjective (signifying fidelity solely to one's own sentiments and often offending against the principle of non-contradiction), on the other to the merely convenient (namely, to «what works»).

His question was, «What is the connection, if any, between classical rhetorical theory and practice on the one hand, and contemporary contextualization theory and practice on the other?»

«We hear a lot about the changes that face Scotland if it becomes an independent country but the other side to that is what happens to what's left behind,» Andrew Blick, from the Institute of Contemporary British History at King College London, says.

What you will not find in her report is a weighing of the governor's mendacity in the context of other whoppers by contemporary public servants.

Contemporary foodie culture's lascivious quest for the new, exotic and tantalising ignores a whole other side of food — what happens to it once you've chewed 20 times, made some groany noises and promised to never again go back for seconds?

But what other city is contemporary with a European flair in North America?

What Badham did was create a seamless integration of many contemporary themes, and they still hold today in some other neighborhood anywhere in the world.

Here's what's new and ready to stream now on Netflix, Amazon Prime, Hulu, HBO Now, Showtime Anytime, FilmStruck, video - on - demand, and other streaming services... Two acclaimed shows that tackle contemporary issues through the prism of science fiction are back for their respective second seasons.

The arrival of what appears to be the most purely non-fiction element in the film works to bind together what has been gleaned from the other sections, shot in Argentina, Mozambique and the Philippines: the meandering lives of contemporary youth in far - flung corners of the globe are increasingly connected through the medium of technology.

Capturing the «buddy cop» genre has been attempted before and after this brilliant little ditty (see Kevin Smith's COP OUT and Adam McKay's THE OTHER GUYS), but what makes HOT FUZZ such a contemporary classic is that it actually achieves it's own place alongside the films it's in love with: POiNT BREAK and BAD BOYS 2.

In his first book on this subject, Cultural Literacy: What Every American Needs to Know, published in 1987, he explained why all children and adults need to learn the words, phrases, idioms, ideas, and other information that are an essential part of contemporary society and culture.

Contemporary researchers often differentiate between two types of empathy: «Affective empathy» refers to the sensations and feelings we get in response to others» emotions; this can include mirroring what that person is feeling, or just feeling stressed when we detect another's fear or anxiety.

And is it not worsening in our schools — despite the valiant efforts of the Common Core, the AP program, and others to push students to seek actual evidence in original texts rather than just saying what they think about something — as contemporary liberalism pushes them hard to embrace and amplify what historians call «presentism»?

Now, other reviewers have weighed in — and most are enthusiastic about the idiosyncratic 1,100 page doorstop with more than 200 essays by contemporary writers and academics, including novelist Walter Mosley writing on what it means to be «hardboiled,» novelist Mary Gaitskill on why Norman Mailer moves her, and humorist Sarah Vowell on «American Gothic» and kitsch.

What is revealed about the possibilities of social mobility in contemporary Pakistan in stories such as «Provide, Provide,» «In Other Rooms, Other Wonders,» and «Lily»?

What other books do you think belong in this «contemporary canon»?

Refined bistro cuisine and contemporary design are what set the Lounge apart from other restaurants in La Défense.

Offering unspoilt landscapes and culture where you can find your own tropical paradise and indulge in the real Balinese charm that still remains unchanged here dispite the growth of tourism and what's best of all there is no need to sacrifice luxury accommodation to experience this.Accommodation in Candidasa is not as plentiful as in other areas of Bali but there are a selection of high quality hotels, villas, traditional Balinese bungalow villas and modern contemporary villas.

In a new book, My Name Is Charles Saatchi and I Am an Artoholic (out next month in the United States from Phaidon Press), Saatchi partially lifts the veil on his life by answering questions on topics ranging from his favorite artists to his influence on the contemporary - art market and other collectors to what makes him laugh.

Collection, Museum of Art, Fort Lauderdaie, FL; travelled to Oklahoma Museum of Art, Oklahoma City, OK; Santa Barbara Museum of Art, Santa Barbara, CA; Grand Rapids Art Museum, Grand Rapids, MI; Madison Art Center, Madison, WI; Montgomery Museum of Fine Arts, Montgomery, AL 1981 Drawing Invitational, Harm Bouckaert Gallery, New York, NY 1981 New Work, Roy Boyd Gallery, Chicago, IL 1981 Artists Books, Metrònom, Barcelona, Spain 1980 Little Books, Franklin Furnace, New York, NY 1980 New York 1980, Banco - Massimo Minini, Brescia, ltaly 1980 Pool Project Documentation, Artists Space, New York, NY 1980 New York Painters, University of Rochester, Rochester, NY 1980 Works of Art, Patricia Sneed Gallery, Rockford, IL 1980 Group Show, Roy Boyd Gallery, Chicago, IL 1980 Collection of Dr. Milton Brutten and Dr. Helen Herrick, Ben Shahn Gallery, William Patterson College, Wayne, NJ 1980 Group Exhibition, Susan Caldwell, Inc., New York, NY 1980 Pool Projects, Wake Forest University, Winston - Salem, NC 1980 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post College, Greenvale, NY 1979 Prospectus, Aldrich Museum, Ridgefield, CT 1979 New Wave Painting, The Clocktower, MoMA P.S. 1, New York, NY 1979 Artist's Postcards, Ananas Gallery, Abrau, Switzerland 1979 Poets and Painters, The Denver Art Museum, Denver, CO; traveled to Atkins Museum of Fine Art, Kansas City, MO; La Jolla Art Museum, La Jolla, CA 1979 14 Painters, Lehman Gallery, CUNY, Bronx, NY 1979 Drawings, Hal Bromm, New York, NY 1979 Summer Show, Hal Bromm, New York, NY 1979 Drawings, Pyramid Gallery, Providence, MA 1978 Detective Show, Gorman Park, Jackson Heights, NY 1978 Works on Paper, Studio La Citta, Verona, Italy 1978 Group Exhibition, Arte Fiera, Bologna, Italy 1978 Group Exhibition, Art - 9, Basel, Switzerland 1978 Black and White on Paper, Nobe Gallery, New York, NY 1978 Paperworks, Galerie Wirz, Milan, Italy 1978 Selections from the Collection, Aldrich Museum, Ridgefield, CT 1978 Artists Books: USA, New Gallery, Cleveland, OH 1977 Fine / Fleishman / Stamm, Franklin Furnace, New York, NY 1977 Painting 75,76,77, Sarah Lawrence College, Bronxville, NY; traveled to American Foundation for the Arts, Miami, FL; Contemporary Arts Center, Cincinnati, OH 1977 Book Objects, Albright - Knox Art Gallery, Buffalo, NY 1977 A Painting Show, MoMA P.S. 1, Long Island City, NY 1977 New York Group Show, Galerie Denise Rene, New York, NY 1977 Group Exhibition, Art Fiera, Bologna, ltaly 1977 Group Exhibition, Documenta - 6, Kassel, Germany 1977 Collection in Progress, Moore College of Art, Philadelphia, PA 1977 Ideas — Images, Eugenia Cucalon Gallery, New York, NY 1977 Postcards and Other Mail, Jock Truman, New York, NY 1977 Wrapping Paper Invitational, Nobe Gallery, New York, NY 1977 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1976 Group Exhibition, Art Fiera, Bologna, Italy 1976 Summer Group, Max Protetch Gallery, Washington D.C. 1976 SoHo and Downtown Manhattan, Akademie Der Kunste, Berlin, Germany 1976 Selections SoHo - Berlin, Louisiana Museum, Humlebaek, Denmark 1976 Works on Paper, Hal Bromm, New York, NY 1976 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1975 Contemporary Reflections 1971 — 1974, AFA; travelling exhibition Spare, Central Hall Gallery, Port Washington, NY 1975 Group Indiscriminate, 112 Greene Street, New York, NY 1975 A Collection in Progress (Herrick - Brutten Collection), The Clocktower, MoMA P.S. 1, New York, NY 1975 Group Exhibition, International Art Fair, Cologne, Germany 1975 Five from SoHo, Rose Art Museum, Waltham, MA 1975 Spare, Central Hall Gallery, Port Washington, NY 1975 Abstraction Alive and Well, SUNY, Potsdam, NY 1975 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1974 Tight and Loose, State University, Albany, NY; travelled to State University, Potsdam, NY 1974 Black as Color, Reed College, Portland, OR 1974 Drawings, Albright - Knox Art Gallery, Buffalo, NY 1974 Paperworks, Rosa Esman Gallery, New York, NY 1974 10th Anniversary Exhibition 1964 — 1974, Aldrich Museum, Ridgefield, CT 1974 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1973 Painting in America, Decorative Arts Center, New York, NY 1973 Black Paintings, Nancy Hoffman Gallery, New York, NY 1973 DiDonna / Stamm, O.K. Harris Gallery, New York, NY 1973 Nine New York Artists, Hartwick College, Oneonta, NY 1973 Recent Acquisitions, Phoenix Museum, Phoenix, AZ 1972 Contemporary Reflections 1971 — 1972, Aldrich Museum, Ridgefield, CT 1971 What's Happening in SoHo, University of Maryland, College Park, MD 1971 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1971 Alumni Show, Hofstra University, Hempstead, NY 1970 Young Artists: New York 1970, Greenwich, CT

Mali Morris interviews Geoffrey Rigden where we learn about the influence of jazz, the teaching of Hans Hofmann, what it means to be contemporary (what a great question, by the way), the influence of Noland and Louis in the early days as well as Milton Avery and Albert Marquet, also other less well known figures at the time like Adolf Gottlieb, for Rigden «still more pertinent and engaging than Pollock».

RG What makes GNY different than other contemporary youth - centric exhibitions like the Whitney Biennial and the New Museum's Younger than Jesus?

Few contemporary artists have developed a visual vocabulary as immediately recognizable as the Chicago - born artist Christopher Wool's — and what's remarkable is that he was able to achieve this distinction across a number of different series, from his influential text paintings to his elegantly minimal canvases marked by fences and other repetitive forms to his dynamic gestural abstractions that borrow from graffiti culture.

Other notable exhibitions that range from historical scholarship to pushing the conceived boundaries of what defines a museum exhibition are Technicolor: New Works by Jaime Hayon (2017); Dream Cars: Innovative Design, Visionary Ideas (2014), which is the tenth most - attended show at the High Museum; Earl Pardon's Portable Art: Jewelry & Design (2015); and Bangles to Benches: Contemporary Jewelry and Design (2013).

Richard Klein, Exhibitions Director of the Aldrich Contemporary Art Museum, has remarked: «It is Lichtenstein's innate ability as a colorist, together with his belief in spontaneity and accepting what others would consider accidents or mistakes, which has defined his studio.

For a normal visitor, if he or she wants to understand, they have to understand the artist's thinking or what an artist wants to talk about, then they can enjoy the works as they enjoy other contemporary arts.

Here's what Brian has to say about some of the other biggest names in Modern and Contemporary art.

I would not have predicted that kind of reaction, for the simple reason that all Deitch has been doing is what a lot of other people in the contemporary museum world have been doing.