Sentences with phrase «cultural realities which»

All these structures have profound relations with different cultural realities which have conditioned them and of which the various Supreme Beings are expressions.

If theology is to be vital, it has to be responsive to the social, political, economic and cultural realities which are «real» to that society.

Not exact matches

This is a shared cultural event at a time when the notion of everyone watching the same program on the same network at the same time is a distant memory, totally disconnected from our new reality of Netflix (nflx), Hulu, Amazon Video (amzn), HBO Go or Apple TV (aapl) delivering our favorite shows, which increasingly aren't even produced by the major networks.

Of course it does, but to state matters in that way implies that there is something else with which cultural phenomena could be contrasted, such as a metaphysical reality.

The reality is that those really concerned about human dignity are those who are willing to place faith in moral absolutes which safeguard that dignity against the uncertainties of cultural trends.

That understanding has already been superceded in theoretical physics, which I will also return to briefly, but that image of reality is still dominant at the level of cultural consciousness.

To be sure, classical realism is lost to us, a development due in part to increased awareness of the extent to which the human mind and cultural forms are the irreducible prisms for any apprehension of reality.

That through which all religion lives, religious reality, goes in advance of the morphology of the age and exercises a decisive effect upon it; it endures in the essence of the religion which is morphologically determined by culture and its phases, so that this religion stands in a double influence, a cultural, limited one from without and an original and unlimited one from within.

Whether we point to «secularization» or «modernization» or merely mobility and rising levels of education, the cultural and social base on which the once - dominant denominations built their fiefdoms has all but disappeared — the lingering reality of racial division being the glaring exception.

The reality of things, which must be at once independent of any interpretation and yet connectable with other interpreters, regardless of cultural selectivity, evaporates inexorably.

I have argued in a forthcoming work, The Realities of Faith and The Revolution in Cultural Forms, that the dimension of depth which has appeared in contemporary theology under the discussion of eschatology, has affinities with this new vision of science, if in fact it is not of apiece with it.

The alterity of the text, however, is not to be identified with the socio - cultural, economic or religious realities which its linguistic code and repertoire reflect.

This term points to the reality that some aspects of modernity have transcended national and cultural boundaries and require a new awareness of interdependency and new levels of commonality — aspects of which are likely to destroy much of the variety we have known and to produce new varieties of cross-cultural and transnational interaction.

The cultural power of science comes from its ability to explain many of the observable workings of reality, and also from the technology it creates, which can be very useful in humanity's service.

Mujerista theology brings together elements of feminist theology, Latin American liberation theology and cultural theology, three perspectives which critique and challenge each other, giving birth to new elements, a new reality, a new whole.

15 I do not mean to argue that there is a «given» to be defended, nor that frameworks are not operative; but only to suggest that the reduction of everything to cultural frameworks can not work in a two - option world, for that reality to which a framework argument can apply would then be missing.

But today, for reasons discussed in earlier chapters, it is simply a widespread cultural phenomenon that for increasing numbers the God - talk and religious language in which the church proclaims her message possesses little or no reality.

(See his Forgotten Truth: The Primordial Tradition [Harper & Row, 1976], where he sketches the multidimensional model of reality and the self which he finds to be virtually a cultural universal, attested to by the collective experience of humankind prior to the modern period).

The chief problem with this world view is that it allows for more than one «truth» about reality, truths which merely coexist in discrete personal and cultural worlds.

In simpler language, we may state that primordial objects in the universe (grounded in an ineffable reality) are causally transformed into a limited set of cosmological, biological and cultural entities, which at the same time, allows for an endless number of creative outcomes and novel possibilities.

Still, religio - cultural realities are subjugated by the powers that be; and theologically speaking, this is a result of original sin, the human rebellion against God which betrays the true religious - cultural life.

I submit that the feminine mystique is paralleled by a ministerial mystique, a cultural image of the minister and the church which serves to blur our perception of reality and to rationalize individual and social failure of nerve.

This patience, which is complemented by a gritty determination to see real legal and economic reforms take hold, is all the more striking in that Ukraine must confront daily the cultural and social deterioration created by the sad reality of Homo Sovieticus: men and women who grew up under a brutal political system that was built on falsehoods, that maintained itself through terror, and that taught everyone that trust in another human being can be very costly.

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.

The Protestant principle is the judge of every religious and cultural reality, including the religion and culture which calls itself «Protestant.»»

Neuroscience studies indicate that racial prejudices involve altered signaling in brain regions involved in empathy, which can be restored by cultural interventions such as increased racial contact or virtual reality training.

Haynes's references to films like Masculin - Féminin, Petulia, A Hard Day's Night, 8 1/2, and Darling are not film - historical erudition for its own sake but serve to underscore that Sixties cinema was always already influencing the cultural - political reality from which Dylan sprang.

Environmental management and the challenge of achieving sustainable development is a global problem that requires looking at the political, economic, cultural, and educational phenomenas of the current paradigm, from a poly - logic phenomenology that perceive different levels of Reality which form the world and cosmos humanly known.

He has served on nearly two dozen not - for - profit boards including the Children's Defense Fund, the Black Children's Community Crusade and the Italian American Foundation and has received numerous awards for his cultural and charitable efforts, including the Ellis Island Medal of Honor, the Frederick Douglass Medallion, and the Americanism Award, the highest honor bestowed by the Anti-Defamation League, which acknowledged Riggio's work «to celebrate diversity and make the dream of freedom and equality a reality for so many Americans.»

Describing a finished or successful painting as possessed of a nice awkwardness, differentiating an atypical abstract painting from a great one, conscious of existing within the cultural context of abstraction, which adds to our understanding of emotion, logic, sensation, and concrete reality while at the same time existing at a... Read more

Recent works include the three - screen installation The Unfinished Conversation (2012), a moving portrait of the cultural theorist Stuart Hall's life and work; Peripeteia (2012), an imagined drama visualising the lives of individuals included in two 16th century portraits by Albrecht Dürer and Mnemosyne (2010) which exposes the experience of migrants in the UK, questioning the notion of Britain as a promised land by revealing the realities of economic hardship and casual racism.

What to make of the detailed 1998 proposal for The Long March Project, which enacted a curatorial experiment by founder Lu Jie and artist Qiu Zhijie involving thousands of participants, exhibitions and performances staged along the Red Army's route to collectively «reinterpret historical consciousness and develop new creative approaches to political, social, economic and cultural realities».

Datumsoria: The Return of the Real is an outcome of «Art & Tech @,» a program initiated at Chronus Art Center and conceived by ZHANG Ga, which aims, through resuscitating the valuable legacy of experiments in art and technology from the mid-20th century, to come to terms with the challenges of a technologically constructed timespace: a new reality that has altogether changed the rules of the game in work and play, in politics and economics, and in artistic imagination and cultural sensibility.

Notable group exhibitions include; «Cake and Lemon Eaters: Viktor Pivovarov and Ged Quinn», Galerie Rudolfinum, Czech Republic (2014); which toured to The Gallery of Fine Arts in Ostrava, Czech Republic (2014); «Somos Libres II», Pinacoteca Giovanni e Marella Agnelli, Italy (2014); «Landscape 2000», Osnabrück Cultural History Museum and Felix Nussbaum Haus, Germany (2013 2014); «Looking at the View», Tate Britain, London, England (2013); «The Future is Not What It Used To Be», Newlyn Art Gallery, Penzance, UK (2013); «Beyond Reality: British Painting Today», Galerie Rudolfinum, Prague, Czech Republic (2012); «Everywhere and nowhere», Reydan Weiss Collection, Oberstdorf, Germany (2012); «The Witching Hour», Water Hall, Birmingham Museum & Art Gallery, Leverkusen (2010); «Lust for Life & Dance of Death», Kunsthalle Krems (2010); «Newspeak: British Art Now», Saatchi Gallery, London (2010) touring to State Hermitage Museum, St. Petersberg (2009); «Made Up», Liverpool Biennale, Tate Liverpool (2008); «Collezionami 2», Biennale of Southern Italy, Bari, Puglia (2006); and «The Real Ideal», Millennium Galleries, Sheffield (2005).

In contemporary Russia in which the official political and cultural attitudes become increasingly conservative, a new generation of Russian artists continue the tradition of the Russian artistic and political Left: desire to change the reality by means of art, ideals of equality and social justice, radical Utopianism, secularism and internationalism.

Since September 2016 he has been collaborating with Circus, in Milan, a reality born as a society for photographic services which now aims for the fusion between the profit world and social cultural projects.

Deeply involved in meditation, which they both integrated into the practice of their art, and true music lovers, Tobey and Biberstein initially drew their sources of inspiration from the cultural tradition of the West, but were also partial to Eastern mysticism and obsessed by creating a spiritual reality through their writing.

By distorting and ridiculing this conventionalised, stereotyped imagery, the artist reflects on the things that affect us psychologically in our social - cultural reality and consequently by communicating more authentically, creates a catalyst by which to remedy the toxicity found in humanity.

By addressing local context the artist touches upon the themes related to the constructedness of history and cultural legacy, the persistence of ethnic and national clichés in the global world, the reflection on and re-evaluation of the past which clashes with today's realities.

Describing a finished or successful painting as possessed of a nice awkwardness, differentiating an atypical abstract painting from a great one, conscious of existing within the cultural context of abstraction, which adds to our understanding of emotion, logic, sensation, and concrete reality while at the same time existing at a critical distance from them.

The use of Loop's fragmented, self critical, and nostalgic ideas of the French Polynesia confront the fantasy and reality of the exotic and the ways in which tourism and cultural stereotypes are shaping cultural preservation and identity of this faraway place.

These works connect painting to the constantly changing cultural realities in which the works find themselves.

By Dr. Gottman's definition, this is invariably «a cross cultural experience... [involving] two valid perceptions and realities which make a difference.»

Resources to support this process were highlighted in the workshop, for example, Universities Australia has produced a National Best Practice Framework for Indigenous Cultural Competence in Australian Universities which states that universities should ensure that both students and staff have «knowledge and understanding of Indigenous Australian cultures, histories and contemporary realities and awareness of Indigenous protocols, combined with the proficiency to engage and work effectively in contexts congruent to the expectations of Indigenous Australian Peoples.»

Finally, respect for human rights obligations, especially the right of indigenous communities «to practice and revitalise their cultural traditions and customs» [74] and to equality before the law, including in the enjoyment of the right to equal treatment before the tribunals and all other organs administering justice [75], calls for the development of principles which address the unique evidentiary issues involved in native title litigation, including the reality of claims based substantially upon orally - transmitted traditions, the lack of written records of indigenous laws and customs, the «unsceptical» receipt of uncorroborated historical evidence incapable of being tested under cross-examination, and the epistemological, ideological and cultural limitations of historical assessments of traditional laws and customs by non-indigenous commentators.