Not exact matches
While the impact of these classical theories has remained strong, I would like to point to a specific contribution that, in my view, has served as a kind of watershed in our thinking
about the cultural dimension of religion: Clifford Geertz's
essay «Religion as a Cultural System,» published in 1966.1 Although Geertz, an anthropologist, was
concerned in this
essay with many issues that lay on the fringes of sociologists» interests, his
writing is clear and incisive, the
essay displays exceptional erudition, and it provides not only a concise definition of religion but also a strong epistemological and philosophical defense of the importance of religion as a topic of inquiry.
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Writing an exposition essay is not difficult at all if you know the issue you are writing about, have formulated your opinion concerning this issue and have the opportunity to find additional information to stress the importance of the problem and support your o
Writing an exposition
essay is not difficult at all if you know the issue you are
writing about, have formulated your opinion concerning this issue and have the opportunity to find additional information to stress the importance of the problem and support your o
writing about, have formulated your opinion
concerning this issue and have the opportunity to find additional information to stress the importance of the problem and support your opinion.
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When the students are given the task to
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Another thing that
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essays is the subject matter that you
write about.
Only occasionally does Byzantine Things fall into what artist Daniel Buren (who's not in the show) has called the «exhibiting exhibitions» trap, in which, as he
wrote in Frieze in April, «exhibitions are increasingly becoming opportunities for an organizer or curator or whoever to
write an
essay which usually has nothing to do with the artists invited, but
concerns only his or her philosophy
about art and society, politics or aesthetics.»
Artist and author Douglas Coupland has
written a personal response to Hanson's work that is a testament to its enduring legacy and Ruba Katrib's
essay Surface Identity provides insightful links between Hanson's practice and its relationship to ongoing
concerns about the presence of the body in contemporary art.