Sentences with phrase «dominant language and culture»

Children attend educational institutions with locals, where they are subjected to the dominant language and culture.

Not exact matches

Unless the church reclaims its distinctive message, its distinctive language, and its distinctive practices, it will merge into the general culture, sanctioning whatever positions and ideas are currently dominant.

My observations are directed at the dominant language and ethos of a culture, not at the souls of individuals.

Rather he is simply adopting a language to juxtapose that which we see as duties shaped by Christian commitment and the dominant culture.

The Arab world, where the Arabic language and culture is dominant, includes more than 60,000,000 Muslims.

But living in a world where the connection of poetry and theology has been ruptured, most of their attempts to vitalize their sermons have been limited to employing the culture's dominant language in the pulpit.

Languages are dying as improved transport and telecommunications bring different peoples into closer contact, and speakers of minority tongues abandon them for the languages of more dominant cultures.

P: We're losing languages because there are a few languages that are associated with cultures that are economically and politically dominant, so everybody starts speaking them.

Instead of learning American Sign Language (ASL), many children who are deaf or hard of hearing are encouraged primarily to use the language of the dominant culture by learning to read lips and speak or to «fix» their inability to hear by having a cochlear implant surgically installed, which provides a sense of sound.

Rather than viewing school knowledge as objective, as something to be merely transmitted to students, radical [critical pedagogy] theorists argue that school knowledge... [represents the] dominant culture... [with its] privileged language forms, modes of reasoning, social relations, and lived experiences.

High stakes tests often inaccurately assess English language learners — measuring their understating of English and the dominant culture rather than the subject they are being tested in.

Educators who see their role as adding a second language and cultural affiliation to students» repertoires are likely to empower them more than those who see their role as replacing or subtracting students» primary language and culture in the process of fostering their assimilation into the dominant culture.

«I turned to photography because I thought it was the dominant language of our culture,» says Charlesworth, who is represented in the show by photographs from her first two series of newspaper appropriation works, «Modern History» (1978) and «Stills» (1977).

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

While James T. Green also uses language and image to critique the dominant culture, he concentrates on the perception of «the other,» often raising issues of race through familiar and accessible technologies.

Like the discreet drawing by Ilya Smirnov, «No Title Provided», placed above the radiator, or the small consumed candles on canvases by Josip Nosovel in the corner, Il Futuro era bellissimo per noi triggers a short - circuit mixing low and high culture, dominant historical narratives and esoterica, pop culture and cheap technology — temporalities, language, tone — in a moment that is both sentimental in mood and very dark in humour.

Painting in Italy 1910s - 1950s: Futurism, Abstraction, Concrete Art relays a complex historical account of the fraught relationship between art and politics in Italy during the interwar and postwar period, attesting to the bumps, curves, utopias and traumas experienced by an eclectic group of artists working to assert a new pictorial language by challenging the dominant tenets of their culture.

How can we make sure that the web supports all languages and cultures, not just the dominant ones?

Cultural identity of child and caregiver (culture of origin, dominant culture, language use and preferences, childrearing intentions / values).

Limitations in their ability to speak and / or understand the language of the dominant culture is not related to their ability to communicate effectively in their native or primary language.