Sentences with phrase «writing in the cultural context»

This is at best misleading: Writing in the cultural context of the liberal West, Soloveitchik often devoted more words to emphasizing the necessity of humility and surrender for a genuine religious life, but he had no more esteem for a purely submissive religious posture than for an exclusively assertive one — a point made clear by his frequent condemnations of mystical self - abnegation.

Not exact matches

But to lift one verse out of the textual and cultural context in which it was written, and apply it literally is not a persuasive approach to biblical interpretation.

We choose the interpretive framework based on the genre of the text and the cultural and historical context in which is was written.

The truths of Genesis 6 - 8 (and especially 6:7, 13, 17; 7:23) can be understood differently when we grasp the Scriptural and cultural contexts in which these texts were written, what other Old Testament authors had to say about the flood, and also what the Apostle Peter writes about it in his second letter.

In this novel Atwood does not abandon biblical history to those who have muted female testimony; instead, she imaginatively writes this testimony back into cultural contexts that would destroy it utterly and that fail to do so, even as she reveals the violence in any amputations of human stories and the historical vulnerability of all speech and silencIn this novel Atwood does not abandon biblical history to those who have muted female testimony; instead, she imaginatively writes this testimony back into cultural contexts that would destroy it utterly and that fail to do so, even as she reveals the violence in any amputations of human stories and the historical vulnerability of all speech and silencin any amputations of human stories and the historical vulnerability of all speech and silence.

If we understand the social and cultural context Moses was writing in, then our «literal» interpretation of Genesis 1 - 2 might change.

To read in the original languages is sure to bring even more misunderstanding and misinterpretation, because to any of us, they are foreign to our language experience, but even more so, to the cultural context of the times in which any were written.

The cultural and economic context in which the Bible was written was very different from that in which we have in America.

«The assumptions that have governed our understanding of Christian history during the past several centuries were all formed in the European context where the church was identified with the cultural and religious majority and attention was focused largely on its institutional life,» Shenk writes.

As one who has written so poignantly about the horrors of exclusion in religious communities in our own day, Volf is surely not maintaining that local congregations can somehow become hermetically sealed off from their immediate cultural influences or ideological contexts.

When the Scriptures are put in historical and cultural context and read using reason, we realize the Bible was not intended to condone slavery in modern society but acknowledge it as a reality of the culture when the Scriptures were written.

I'm not sure what exactly you're saying regarding the waffle, but, yes, all of scripture is in fact «cultural» — it is placed first and foremost within the cultural context of the readers (the original, intended recipients) and any proper understanding of it and interpretation of it in our culture today must first understand how it would have been received and interpreted by those it was written to.

The original meaning of the text — that is, the intention of the writer in the historical, cultural context of the writing — is disregarded by dispensationalists.

«Your position that «those acts are labeled as wrong out of the context of the times in which the writers wrote» suggests that God follows the changing cultural trends of man.»

Instead, we need to study the words of those Bible verses in their historical and cultural contexts to see what was meant when they were written.

My case was one in which the author, editor and reader are all known entities (in fact, they all know each other personally); the reading takes place in the exact same cultural and social context as the writing and editing; and the reader is himself a really smart guy, Ivy - league Ph.D. and all, who had spent a decade training the editor to be a certain kind of editor, with specific tools unique to the specific publication's aims.

Study not just the grammatical context, but also the historical and cultural contexts, and when you study the Greek words (as I have done), make sure you study the way the words were used in the time when James wrote James 2.

Little do they know that the writer of this post has degrees in Bible and theology, knows Greek and Hebrew, and has written an entire commentary on 1 Corinthians, looking at the historical, cultural, and grammatical contexts.

Modern fundamentalists have already made up their minds about the entire Bible, and when you try to explain that some of their favorite Bible - thumping passages have been ripped out of the cultural and Scriptural context in which they were written, the Fundamentalist acts as if you are the stupidest person on the earth for trying to understand a text this way.

However one looks at Scripture, as the «word of God» or just old writings, understanding the historical and cultural context in which the writer's lived and wrote can give us lots of insight.

To interpret the Bible as correctly as possible one has to look at the cultural and rhetorical context a passage was written in and the find a way to apply faithfully in our day and age.

«18 In the present context of globalization it is not only necessary to reject «the Western pretence of universalism,» writes Rajni Kothari, «but also for non-Western cultures to seek answers to their problems from within and, in the process, not only provide pluralism in techno - cultural system but, through such pluralism, help Westerners themselves to deal with the new crop of problems they now encounteIn the present context of globalization it is not only necessary to reject «the Western pretence of universalism,» writes Rajni Kothari, «but also for non-Western cultures to seek answers to their problems from within and, in the process, not only provide pluralism in techno - cultural system but, through such pluralism, help Westerners themselves to deal with the new crop of problems they now encountein the process, not only provide pluralism in techno - cultural system but, through such pluralism, help Westerners themselves to deal with the new crop of problems they now encountein techno - cultural system but, through such pluralism, help Westerners themselves to deal with the new crop of problems they now encounter.

To suggest that a collection of ancient texts, written by multiple authors and in multiple genres, spanning thousands of years and countless cultural contexts provides a single, uniform prescription for how to be a woman is absolutely ridiculous.

However, a Bible written by human authors in their socio - cultural contexts all too easily becomes a human and cultural book instead of the inerrant Word of God.

In a cultural context, kente is more important than just a cloth and it is a visual representation of history and also a form of written language through weaving.

1) Country names, fahren, nach / in die, preferences 2) Revision of countries, modes of transport, loads of adjectives, why we travel 3) Accommodation, in + dative, dative prepositions and adjective endings, adjectives, verbal and oral description 4) Holiday locations (on the coast, in the city etc.), verb games, written description of a holiday from all lessons 5) Holidays in past tense (haben and sein) using all previous lessons as context Loads of games, challenges, cultural facts and interludes, printable exercises throughout.

The author of the Common Core Standards for English Language Arts, David Coleman, has said over and over at conferences, in interviews and in online presentations that students» personal responses and interpretations have no place in the classroom nor does discussion of the cultural and historical context in which books are written or in which students live belong in that classroom.

However, teacher candidates have few opportunities to challenge their assumptions about writing teaching through their engagement with student writing from a variety of cultural, social, and linguistic backgrounds in distinct classroom contexts.

HL objectives for this course challenge the students to communicate clearly and effectively in a range of situations, demonstrate linguistic competence and intercultural understanding, use language appropriate to a range of interpersonal and cultural contexts, understand and use language to express and to respond to a range of ideas in a clear, coherent, and convincing manner, understand, analyze and respond to a range of written and spoken sources, and understand and use written texts and works of literature written in French.

The approach called New Criticism has been discredited because it does not allow discussion of the historical or cultural context in which a text was written and prohibits individual reader interpretations of a text.

Dr. Yolanda Sealey - Ruiz, Ph.D. is Associate Professor at Teachers College, Columbia University where the courses she teaches include The Teaching of English in Diverse Social / Cultural Contexts, Participatory Action Research Methods, and The Teaching of Writing.

• Basic knowledge in different languages and the difference in similar idioms and phrases can help the writer to amalgamate the cultural characteristics of different languages and culture in diverse writing contexts.

The catalogue provides art historical scholarship and cultural context to the exhibition and includes essays written by Peter MacKeith, Honorary Consul General to Finland; Timo Valjakka, an independent writer, curator, and critic based in Helsinki and London; and curator O'Brien.

In a lucid and beautifully written essay, Elisabeth Bronfen traces the nocturnal mysteries of insomnia and places this work of art in a larger cultural contexIn a lucid and beautifully written essay, Elisabeth Bronfen traces the nocturnal mysteries of insomnia and places this work of art in a larger cultural contexin a larger cultural context.

He writes that the exhibition «presents the artist and his work partly in the context of his time and place and partly as artefacts present - day viewers respond to literally, without much explanation, as images that will strike them as strange or alien, either because of a cultural disconnect or because of the uniqueness of Dürer's imagination.»

Pardee writes: «Together, Kaufmann and Coolidge offer a framework that helps us understand [Guston's return to figuration], Kaufmann by placing it in its cultural context and Coolidge by assembling texts that document the ambiguities in Guston's approach to modernism.»

PAMM and the Guggenheim Foundation both combine a focus on international and transnational artists and cultural movements with a deep interest in local context, and her work at both institutions has re-affirmed Nawi's belief in the crucial role museums play in writing and rethinking histories, and building and contributing to communities through the establishment of public dialogue.

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

With a focus on conceptual, site - specific, research -, and time - based art and a particular interest in the cultural - anthropological contexts of artistic production, she develops independent exhibition projects with international artists and writes texts and essays for various publications.