Sentences with phrase «cultural theory with»

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At the same time, he rejects those theories, «more or less tinged with behaviouristic psychology,» which assume» that human nature has no dynamism of its own and that psychological changes are to be understood in terms of the development of new «habits» as an adaptation to new cultural patterns.»

The theory of the identity of religion with the sum total of man's cultural and social life does not do justice to its peculiar nature.

(a) Philosophical preoccupation with the various types of cultural activities on an idealistic basis (Johann Gottfried Herder, G. W. F. Hegel, Johann Gustav Droysen, Hermann Steinthal, Wilhelm Wundt); (b) legal studies (Aemilius Ludwig, Richter, Rudolf Sohm, Otto Gierke); (c) philology and archeology, both stimulated by the romantic movement of the first decades of the nineteenth century; (d) economic theory and history (Karl Marx, Lorenz von Stein, Heinrich von Treitschke, Wilhelm Roscher, Adolf Wagner, Gustav Schmoller, Ferdinand Tonnies); (e) ethnological research (Friedrich Ratzel, Adolf Bastian, Rudolf Steinmetz, Johann Jakob Bachofen, Hermann Steinthal, Richard Thurnwald, Alfred Vierkandt, P. Wilhelm Schmidt), on the one hand; and historical and systematical work in theology (church history, canonical law — Kirchenrecht), systematic theology (Schleiermacher, Richard Rothe), and philosophy of religion, on the other, prepared the way during the nineteenth century for the following era to define the task of a sociology of religion and to organize the material gathered by these pursuits.7 The names of Max Weber, Ernst Troeltsch, Werner Sombart, and Georg Simmel — all students of the above - mentioned older scholars — stand out.

Lifeworld colonization theory credits secular cultural patterns (e.g., rational communication processes) with an active role in social change, but it minimizes the importance of religion.

That being said, the renewal of interest ought not to be overstated: much doctrinal theology in English remains preoccupied with keeping up a conversation with other fields of inquiry (often literary and cultural theory) and is so eager to do so that it often neglects the descriptive or dogmatic tasks of systematics.

More broadly, they've proven Greenberg and company's original terror management theory right all along: that people deal with death by upholding worldviews that are larger and longer - lasting than themselves, and opposing anyone or anything that violates these «cultural anxiety - buffers.»

I think Carl Jung came up with some good ways of thinking about our cultural images and how they come about — that scientists many hundreds or thousands of years later might have the same sorts of cultural images informing their intuitions, and thus using those images as the basis for a theory of evolution is not so much extraordinary than it is to be expected.

I thought Evangel readers would appreciate knowing about my Christianity Today interview with James Davison Hunter, Professor of Religion, Culture, and Social Theory at the University of Virginia and author of To Change the World: The Irony, Tragedy and Possibility of Christianity in the Late Modern World (Oxford, 2010), which promises to be the most important book written on Christian cultural engagement in the last 50 years.

I have slightly improved the thrust of this quotation: Whitehead actually (somewhat embarrassingly) claims that the «struggle for existence gives no hint why there should be cities» even though Hobbes» social theory provides just such an account, illustrating that cultural change and even transformation per se has necessarily little to do with the issue of evolution.

3At present, for example, the well - entrenched neo-Darwinian hypothesis of «gradualism» (biological evolution occurs slowly, and more or less continuously as the constant interplay of random variations and natural selection over vast periods of time) is confronted with a somewhat more radical and neo-Lamarckian theory of «punctuated equilibrium» favored by Harvard biologists Stephen Jay Gould and Peter Williamson, collaborated by fossil discoveries of paleontologist and cultural anthropologist Richard Leakey in Africa.

America is a mixed - up national project, unlikely to satisfy the exacting ideals of a theologian, political philosopher, or cultural theorist, and yet preternaturally successful, perhaps because it is a nation and society largely in accord with basic human sensibilities that resist reduction to neat theories and pat principles.

Precisely with regard to these transitional situations which, in view of the present deficits in ecological and social - technological theory, particularly become the center of cultural attention, Whitehead has set new tasks.

This article examines Whitehead's theory of perception to indicate how this theory provides a philosophical reinterpretation for two issues of concern to feminists: criticism of cultural symbols, including language, and the importance of intuition and emotion, usually associated with women, in experience.

His theory of symbolism then, is not only compatible with feminist goals of revising and renewing cultural symbols, but also provides a systematic analysis which gives philosophical support and impetus to these goals.

When such schools are located in a cultural context marked by the «triumph of the therapeutic,» [19] there is a strong tendency, to construe those conditions in psychological and sociological categories and to equate the requisite knowledgeabilitv with counseling skills and related psychoanalytical and social - psychological theory.

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 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 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.

While the theoretical principles guiding the use of the NBO and the accompanying training program, include many of the conceptual themes that informed our work with the NBAS, they are influenced by theoretical and clinical principles from the fields of infant mental health, child development, brain development, behavioral pediatrics, systems theory, communication studies, nursing, early intervention and cultural studies, among its influences.

That's also the case with the approach known as constructivism — the idea that every society's scientific theories are a social construct, like its political institutions, and have to be understood as coming out of a particular cultural milieu.

This observation coincides with the theory of neuronal recycling, developed by Stanislas Dehaene, and which stipulates that advanced cultural cognitive processes, such as mathematics, recycle ancient evolutionary brain functions, such as a sense of number, space and time.

In fact, Naremore's work involves unifying this brand of cinephilia — what Jonathan Rosenbaum once referred to as «maniacal, unreasoning» cinephilia — with the critical theories and cultural studies that have dominated academic film discourse.

The market's unresponsiveness to the winsome New York story Two Family House, in particular, generates the following theory: American moviegoers now feel guilty for seeing The Mummy Returns twice instead of something less promoted once; they take the least painful route of cultural redemption by buying tickets to the most domestic thing with accents available, thus developing a distrust of or distaste for the genuine article.

On the other hand, the theory of cultural relativism is based on the idea that there are no objective criteria by which people with different social and religious norms and perspectives can be distinguished.

Again, these findings are in line with a theory of improved cultural understanding.

Changing the cultural norm from uniformity to pluralism would engage with theory, practice, and political compromise, to be sure.

Solis» research focuses on children's cognitive development, specifically how young children play with each other and with objects to understand and build theories about the world around them, and how this is shaped by their cultural context.

Additionally, service learning programs and cultural immersion experiences in international settings such as Guyana, Haiti and Kenya will enhance students» sensitivity to diversity and difference, promote learning and sharing of cross-cultural experiences, enhance students» competence in building therapeutic relationships with diverse populations, increase students» awareness of ethics and standards appropriate to professional practice with culturally diverse populations, and expand students» global perspectives of psychological theories and their application to culturally diverse groups.

A fine introduction to cultural studies, with excellent accounts of major theories of representation and identity.

With experience of undertaking modules in a diverse range of subjects, she has acquired exceptional knowledge of contemporary and classical theories which include philosophy, history, cultural studies, film and literature.

That said, I was a skeptical graduate student, and not very happy with much of the common theories; I wondered whether cultural influences played a larger role in many of the matters that we studied.

Robert's talk begins with a brief cultural history of lighting before moving on to an overview of lighting design theory as well as various case studies.

Students who declare Fine Arts as their major immerse themselves in self - discovery and experimentation, supplementing their studio classes with elective courses in art history, theory, liberal studies and professional practices that further broaden their cultural, historical, and intellectual horizons.

She continues: «Critical theories about cultural production, about aesthetics, continue to confine and restrict black artists, and passive withdrawal from a discussion of aesthetics is a useless response -LSB-...] Black artists concerned with producing work that embodies and reflects a liberatory politic know that an important part of any decolonization process is critical intervention and interrogation of existing repressive and dominating structures.»

In her expansive world view, the personal becomes the cultural, becomes a refractory mirror of the time we live in with all its nuts and bolts of coding, iterations, simulations, information theory, feedback loops, and the transition from orderly states to disorderly ones.

In his contribution to remixthebook, literary critic Joe Tabbi's practice - based theory mashes up Nietzsche's «Use and Abuse of History for Life» with selected works of new media writing and confronts us with the worth and worthlessness of digital cultural production.

Both exhibitions emphasize the plural nature of feminist art: art made all over the world by women of all different nationalities, classes, and cultural and racial affiliations, and presumably identified with both the «essentialist» and the «constructionist» brands of feminist theory and politics, not to mention the many strategies of feminist art, from craft work to political exposé to canon - busting to the deconstruction of gender mythologies to body - centered investigations.

Roberta Smith, who in 1993 wrote for the New York Times Weekend in Review, «This exhibition exemplifies what seems to have become the New Museum's house style: a display of rather antiseptic, Conceptual - based artworks organized around a theme that is top - heavy with theory» continues to review the museum's exhibitions; Palestine remains under occupation; and while the cultural perception of AIDS has changed, from «gay cancer» to an African epidemic, the disease rages on world - wide.

Guided by these questions, this exploratory seminar will survey and examine creative uses, definitions, and theories of the diagram from the early modern period to the present, with emphasis on cultural production in the 20th and 21st centuries.

The artists in this exhibition produce works that explore the multi-faceted characteristics of the word «hood» in some fashion: a slang term for a Black neighborhood; a suffix in cultural theory concepts like «objecthood,» «personhood,» «negrohood;» and Trayvon Martin's hoodie, which, along with his being an objectified young Black male, served as a signifier in an act of radical injustice.

Cutting Copper: Indigenous Resurgent Practice, a collaborative project between grunt gallery and the Belkin Art Gallery that I co-organized with Shelly Rosenblum, aimed to bring together a cross-disciplinary group of artists, curators, writers, educators, scholars, students and activists to explore the embodied theory of Indigenous resurgence and cultural representation — from the perspectives of their own disciplines and one another's.

This table offers a myriad of publications with topics spanning Marxist theory, capitalism, neo-liberalism, post-colonialism, globalization, cultural theory, politics and philosophy.

Using cultural matter as his material - medium, he references art, history and theory to form a spatial and temporal narrative arc made up of intercommunicating texts, combined with an interest in the sculptural possibilities of cinematic structures and mise en scène.

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.

The artist, writer, and media theorist (and former Rhizome editor and curator) continues her interdisciplinary methodology with Getting Ready — which invokes «the anxiety of preparation for public engagement and exploring the degrees to which online participation soothes or exacerbates social alienation» — and touches on themes that have become staples in her work, like the politics of participation, gender theory, and the cultural history of technology.

Rogoff writes on the conjunctions of contemporary art with critical theory with particular reference to issues of colonialism, cultural difference and performativity.

In the cycle he integrates Clement Greenberg's theories of Modernism with urban art, appropriating diverse cultural references; for instance, to Jack Kerouac's novel The Dharma Bums (1958), to Dutch and Spanish football stars, and to films, including The Miracle of Candeal (2004).

C ∆ N - D has performed at JACK, National Arts Gallery, Radiator Arts Gallery, Academic Gallery, Dixon Place, Pianos, and Lower Manhattan Cultural Council's Downtown Dinner and River to River Festival in collaboration with The Feath3r Theory.

Students are given the opportunity to work one - on - one with our accomplished faculty who are actively engaged in a range of disciplines and areas that include art and cultural theory, art history, film, video, architecture, digital media, print media, photography, performative studies, painting, spatial arts and related fields in the Humanities, Sciences and Engineering.

Dimitrijević holds an MA degree in History and Theory of Art from the University of Kent (UK) and has received his PhD in Interdisciplinary Cultural Studies from the University of Arts in Belgrade with the thesis entitled «Utopian Consumerism — Emergence and Incongruities of Consumer Culture in Socialist Yugoslavia».

It's necessarily difficult to discuss the merits and implications of cultural cognition if you aren't familiar with the theory, of if you don't engage with the theory itself (not the least because your understanding may be incomplete).

A shift in the sample as a whole towards the answer of those with the high science comprehension scores is also predicted by my theory and cultural cognition.