Sentences with phrase «cultural movements which»

His art reflects the political and cultural movements which engaged British artists in the first half of the 20th century, from the Arts and Crafts movement and Fabian socialism to a the revival of Roman Catholicism.

It's understandable in the face of an aggressive cultural movement which quite frankly doesn't «play fair» in allowing any opposition view.

Graffiti Art (1970s onwards) Also referred to as «Writing», «Spraycan Art» and «Aerosol Art», Graffiti is a movement or style of art associated with hip - hop, a cultural movement which sprang up in various American cities, especially on New York subway trains, during the 1970s and 1980s.

Also known as «Street Art», «Spraycan Art» and «Aerosol Art», Graffiti art is a style of painting associated with hip - hop, a cultural movement which sprang up in various American cities, especially on New York subway trains, during the 1970s and 1980s.

Not exact matches

a movement which was the end culmination of nearly three centuries of cultural slavery in north and south america.

The unrest over that loss of cultural currency has spawned a great deal of important theological reflection — and it has led to movements, like the Vineyard, which value cultural relevancy.

That site has some really excellent posters you might want to take a look at as well (oh, and it might help get the extra layer of meaning if you know that «po - mo» is also slang for «post modern» which is a term used to describe the meta - level / self - satirize / surreal sort of cultural expression that followed the «modernist» movements): http://www.spurgeon.org/~phil/posters.htm

Furthermore, unlike previous sectarian movements which tended to define themselves against the dominant culture, these churches tend toward cultural accommodation.

It is a living religion which has received and is still receiving its vitality from the people who confess it; it is a great movement which has passed through various stages of development over its long and complicated history, influencing and being influenced by the religious and cultural forces in its environment.

Christian history is a series of cross-cultural movements, which result in a succession of different Christian «heartlands» as the geographical and cultural center of Christianity has changed.

While the character of certain movements and groups is to a large extent defined by sociological criteria, such as the earlier so - called Frontier religion or now the Buchmean (Oxford group) Movement, which Allan Eister has recently analyzed in his book Drawing Room Conversion, we find that the more definitely a religious group is a religious group — as distinct from an economic, political, or cultural association — the more important, both for members of the group and students of it, will become its worship and its theology.

We do not know the cultural background and ethnic origins of the tribes that took part in the movement which we know best as Joshua's conquest of Palestine, yet the influence of the Arabian Desert was strong upon them, if we may judge from such information as we possess of their social life in the immediately following period.

Viktor von Strauss, the first to notice the ancient cultural change that was later named the Axial Period, described what he observed as «a strange movement of the spirit [which] passed through all civilized peoples».3 Such «movements of the spirit» may be the key to our understanding of the next phase.

With the rise of a new cultural movement during the eighteenth century, commonly known as the Enlightenment, a new critic of the church but one which was also a helper appeared on the scene.

And the Nazi movement represents a cultural development which utterly contradicts the cultural traditions of Great Britain and France.

All political movements, economic and cultural discussions, and religious longings are directed toward the overcoming of the feeling of «insecurity» which is abroad in all lands.

Editor's Reply We would simply note that at a question and answer session with representatives of the new movements held at Pentecost Pope Francis made the following comment, which seems to dovetail with the emphasis Mr Keeffe places on devotion to the Real Presence: For us Christians, poverty is not a sociological, philosophical or cultural category.

In two recent works, The Uncertain Phoenix and Eros and Irony, David L. Hall presents a systematic and radical critique of the Western cultural and philosophical tradition, and (in The Uncertain Phoenix) a provocative vision of a future which might result front a movement away from certain aspects of that tradition.

In describing and accounting for the lives of the Religious Right, which we define simply as religious conservatives with a considerable involvement in political activity, the book and the series tell the story primarily by focusing on leading episodes in the movement's history, including, but not limited to, the groundwork laid by Billy Graham in his relationships with presidents and other prominent political leaders; the resistance of evangelical and other Protestants to the candidacy of the Roman Catholic John F. Kennedy; the rise of what has been called the New Right out of the ashes of Barry Goldwater's defeat in 1964; a battle over sex education in Anaheim, California, in the mid-1960's; a prolonged cultural war over textbooks in West Virginia in the early 1970's — and that is a battle that has been fought less violently in community after community all over the country; the thrill conservative Christians felt over the election of a «born - again» Christian to the Presidency in 1976 and the subsequent disappointment they experienced when they found out that Jimmy Carter was, of all things, a Democrat; the rise of the Moral Majority and its infatuation with Ronald Reagan; the difficulty the Religious Right has had in dealing with abortion, homosexuality and AIDS; Pat Robertson's bid for the presidency and his subsequent launching of the Christian Coalition; efforts by Dr. James Dobson and Gary Bauer to win a «civil war of values» by changing the culture at a deeper level than is represented by winning elections; and, finally, by addressing crucial questions about the appropriate relationship between religion and politics or, as we usually put it, between church and state.

But at this point we reach the fundamental problem facing any conception of the world, any philosophy which has become a cultural movement, a «religion,» a «faith,» any that has produced a form of practical activity or will in which the philosophy is contained as an implicit theoretical «premiss.»

In the expansion of Christianity around the world in the wake of European colonialism, new converts from the various indigenous peoples have not infrequently fastened on the apocalyptic component and blended it with their own cultural beliefs to create fresh millennial movements which offer their people hope of deliverance from imperialistic conquest and the arrival of a new age of bliss.

The story of the early church shows us the great cultural movement of Christian communities which transformed the culture of the Roman Empire.

This may seem like an unremarkable turn of events, but according to Grant Castleberry of the Council on Biblical Manhood and Womanhood (flagship organization for the complementarianism movement, which advocates hierarchal gender roles in the home, church, and society), it represents a severe «cultural capitulation» which, «instead of helping guide children towards embracing who they actually are, blurs reality,» «confuses them,» and «drags them through the dark labyrinths» of their parents» gender - based delusions.

For Espinosa, food is a catalyst for regeneration and reconciliation in every sense; culinary, political and social — as well as a way to build a whole new cultural identity which both cultivates dignity and peace — a movement which she believes can benefit not only her country, but Latin America as a whole.

Kids from that era had the benefit of growing up during an extreme cultural paradigm shift (e.g. feminist movement, deconstruction, dawn of digital age, etc) which seemed to bring a fair amount of empowerment with it, so maybe they've just been socialized to think that there supposed to be doing MORE than what they saw their mothers do.

It is therefore subject to the same charges of racism and apartheid - leaning ways as any movement which centers its identity upon a shared racio - ethno - cultural heritage.

«One of my tattoos combines my favorite childhood stories about the existence of forest sprites (duendes) as well as one of my favorite cultural movements — hip - hop or breakdancing — which I've been involved in for the past 15 years, and my profession as a botanist.»

Wilkerson sees his film, no less than his family, as caught up with these cultural artifacts in the continuing movement of history — a history in which you might decide to be a liberal (if you're content to congratulate yourself) or, as a better choice, a radical.

City of Gold (Director: Laura Gabbert)-- Pulitzer Prize - winning critic Jonathan Gold casts his light upon a vibrant and growing cultural movement in which he plays the dual roles of high - low priest and culinary geographer of his beloved Los Angeles.

Yet such is the power of the stunted fanboys and clickbait movie «journalists» fueling discussion of popular cinema in 2015: a depressing forum in which a perceived unsatisfactory Marvel film must be analyzed like the coming of the cultural holocaust, rather than simply being ignored for the unremarkable — and completely familiar — corporate bowel movement that it is.

This bundle contains 17 ready - to - use Renaissance worksheets that are perfect for students to learn about the period from the 14th to the 17th century, considered the bridge between the Middle Ages and Modern history which started a cultural movement in Italy in the Late Medieval period and later spread to the rest of Europe.

I grew up reading the Brontë sisters and Jane Austen, fascinated by the ways in which gender, culture, and class limited the characters» movement within society, and Park added several more layers of complexity to Jane Re's story by introducing race, cultural identity and intergenerational conflict to the mix.

Featuring a boyish animatronic figure reminiscent of literary and pop cultural characters such as Huckleberry Finn, Howdy Doody, and Alfred E. Neuman, the mascot of Mad magazine, the work is suspended with heavy chains from a large mechanized gantry, which is programmed to choreograph its movements.

His interest and involvement in the Chicano political movement led his work to the Mexican American and Chicano cultural explorations and themes for which he is now well known.

And Artforum was still the locus of formalist criticism, which was proving increasingly unable to account for art that contributed to larger cultural movements, like Civil Rights, women's liberation, anti-war protests, and more.

Memphis Living is an homage to the designs of the short - lived Memphis Group founded in Milan by architect and designer Ettore Sottsass, designs Bas first encountered predominantly through their pop cultural references and simulations, and which he only later came to know as an aesthetic movement.

One of the key figures in the Pop Art movement, his complex narratives of recognizable imagery are firmly situated in the cultural and political contexts in which they are made.

Although both British and American pop art began during the 1950s, Marcel Duchamp and others in Europe like Francis Picabia and Man Ray predate the movement; in addition there were some earlier American proto - pop origins which utilized «as found» cultural objects.

The history of modern art, from dada onwards, is littered with movements whose subversive force has been emasculated by cultural acceptance, a fact of which the artists here are painfully aware.

[56]: 43 What, however, can be said, is that it was a movement that developed in the early 20th century mainly in Germany in reaction to the dehumanizing effect of industrialization and the growth of cities, and that «one of the central means by which expressionism identifies itself as an avant - garde movement, and by which it marks its distance to traditions and the cultural institution as a whole is through its relationship to realism and the dominant conventions of representation.»

Pioneering conceptualist Jiro Takamatsu (1936 — 1998), a major influence on the artists of the Mono - ha movement, had a career that spanned forty - plus years, during which time his considerable influence as an artist, theorist, and teacher extended across the Japanese postwar cultural landscape.

The Short Century presents a cultural context in which the intense politics of African freedom movements are displayed: from the initial struggles for independence following the Second World War, to the collapse of apartheid in South Africa and the establishment of democratic governments in the nations of Africa.

Ligon's paintings and sculptures examine cultural and social identity through found sources — literature, Afrocentric coloring books, photographs — to reveal the ways in which the history of slavery, the civil rights movement, and sexual politics inform our understanding of American society.

Such as: What did women's liberation, primarily a white, middle - class movement, have to offer African - American women in a country where, as late as the 1960s, de facto slavery still existed; a country where racism, which the movement itself shared, was soaked into the cultural fabric?

However, his closest ties were with the rustic Strapaese movement, which advocated a return to local cultural traditions.

Blooming in the Shadows: Unofficial Chinese Art, 1974 — 1985 will introduce the work of three unofficial Chinese art groups who worked in this vein: the No Names, the Stars, and the Grass Society, all of which arose following the end of the Cultural Revolution and helped launch the avant - garde movement in China.

Glenn Ligon's intertextual works examine cultural and social identity — often through found sources such as literature, Afro - centric coloring books, and photographs — to reveal the ways in which slavery, the civil rights movement, and identity politics inform our understanding of American society.

His rich improvisational explorations of subjectivity, identity, and history can be linked to modes of black cultural production, such as the jazz ensemble, which encompasses a search for freeform movement among order.

Commenting on the political role of AE, Saunders points out: «One of the extraordinary features of the role that American painting played in the cultural Cold War is not the fact that it became part of the enterprise, but that a movement which so deliberately declared itself to be apolitical could become so intensely politicized» (275).

Olivier Malingue says: «To arrange them in dialogue in this way allows the works to speak not just to each other but to the viewer, highlighting the theories of collective thought inherent in the Surrealist movement — which is, to me, key to grasping the continuing relevance of this groundbreaking cultural movement.»