Sentences with phrase «forms of subjectivity»

If being «subject to» calls to mind subjugation and contingency, then the forms of subjectivity proposed by the collected works refuses any easy recognition.

Drawing from existing (his) stories, personal experiences and observations of day - to - day reality, fragmented narratives and forms of subjectivity are constructed through an interplay of voices and signs.

Drawing on stories, histories, personal experiences and observations of day - to - day reality, fragmented narratives and forms of subjectivity are constructed through an interplay of voices and signs.

In interpretation, the reader entertains propositions whose logical subjects include entities in the reader's (and author's) past world; only as such do they become components of the interpreter's «forms of subjectivity»; so there is always an element of objective reference.

But unlike either of these hermeneutical perspectives, a «process hermeneutic» does not reduce a text's meaning to «forms of subjectivity,» as Kelsey suggests.

Higher and more complex forms of subjectivity can emerge, but they can not be described here in detail.

What we know of biological evolution suggests that modern human subjectivity emerged very gradually over a long period of time out of simpler forms of subjectivity.

A proposition becomes part of a «form of subjectivity» when the reader admits it as a datum within the process of self - creation by assigning to it a valuative feeling; but that does not mean it is an «injunction.»

The artist explores a variety of monochrome colour blocks, surfaces, geometrical patterns, and dimensions via methodical repetition of gestures: a radical and dynamic approach to the canvas; that refuses any form of subjectivity.

Not exact matches

People of faith and even of non-faith are all living as rented forms within collective formations ever rising and even falling with the tidal flurries regarding the many societal accolades of a changing tides bantered momentums riding ever continuing laments to rise and then fall upon socialisms shorelines to be so aligned with subjectivities of placed regionalized variant findings dispersed yet rationed movements in the ever to so be done fluidic moments by people of faith and also of non-faith.

The original form of Jesus has disappeared from view, transcendence has been swallowed up by immanence, the events of our salvation history have passed into the dead and lifeless moments of an irrevocable past, no heaven can appear above the infinite stretches of a purely exterior spatiality, and no grace can appear within the isolated subjectivity of a momentary consciousness.

What Whitehead conceives as the subjectivity of an «actual entity,» its self - determination, has to do, in Aristotle's doctrine, with his principle of «form.»

What defines the inquiry as «theology» is its guiding goal, not the distinctive «methods» it employs (although it will be poor theology if it employs inappropriate methods), nor the distinctive subjectivity of the persons engaged in the inquiry (although it may be pretty thin theology if the inquirers are not personally «formed» by faith, hope, and love).

The feeling of subjectivity, with its quality of self - worth, is not a static form of enjoyment.

When this occurs, the inherently self - surpassing quality of the feelings of subjectivity, which may either overreach themselves in an expansive quality that knows no bounds or else become blocked by retrogressive and discordant tendencies, instead forms the basis for the religious mode of experience «at the width where the «self» has been lost, and interest has been transferred to coordinations wider than personality» (AI 368).

The deeper we go, the more finite subjective forms are knit together by divine conceptual supplementation to become the subjective form of a wider portion of God's subjectivity, till at bottom it becomes coextensive with the whole.

On the other hand, the very exclusiveness of the occasion's decision, whereby it forms a determinate bond with every item in its universe (PR 71), prevents any continuation of its own subjectivity.

«To come before God» is at once the highest form of man's «coming to himself», the fulfillment of his subjectivity.»

It might then follow that God's experience would include our creaturely experiences in their subjectivity by virtue of God's including the regions in which those occasions form themselves.

Nevertheless it is apparent that in living beings these forms reveal themselves, on a different level of integration, as unity and totality, as subjectivity and self - identity.

Since every occasion of experience on the Whiteheadian model, no matter how closely determined by its antecedents, has a margin of «subjectivity» by which it forms itself, is something «for itself,» these occasions partially conform to and partially reject or distort the divine aims.

Though conceptual valuation, like concrescence, exemplifies various categoreal obligations, 14 we should not expect subjectivity in the form of subjective aim to apply as long as God is conceived as purely nontemporal.

«Concrescence» thus offered a way in which «the complete conceptual realization of the realm of ideal forms» (Religion 154) could be reintroduced, for it need not connote the difficulty of nontemporal subjectivity.

While I do not fully endorse her hypothesis that actual entities retain their subjectivity as «superjects» impacting upon the concrescence of subsequent actual entities, I am very sympathetic to her presupposition that there is a continuous transfer of feeling as well as a transmission of form from one actual entity to another within the cosmic process.

The important difference of course is that in the experience of tongues there is no figure of Jesus giving form and content to the coming kingdom, so that the subjectivity of the early charismatic had little to guide it.

Authentic contemporary Existenz is alienated from faith, or alienated from all historic forms of faith, thus necessitating a non-dialectical retreat of theology from both the inner and the outer realms, from subjectivity and objectivity, from the «inner now» of Geschichte and the «outer now» of Historie.

One subject draws in a myriad of data in its instantaneous flicker of subjectivity, and in that instant, each morsel of data is assigned its own subjective form.

Hence subjectivity and purpose in rudimentary and unconscious forms are characteristics of nature generally.

The problems of how the public, plural form of objectified subjectivity is to be thought, of how reconciliation occurs between the uniform inner perspective and the outer perspective which is only intelligible in relativistic terms, and of how the connection between the privateness and publicness of the world is to be comprehended, are all to be regarded as such tasks.

With their situations varying in every case, objectified in differing ways by other occasions, they enter into a multitude of contexts, and in so doing they pass along to other processes the complexity which they have achieved and formed in their subjectivity as a «lure for feeling.»

What I find disappointing about many studies of public rhetoric is (a) their tendency to focus only on content, rather than the form or structure of discourse, (b) their tendency to thematize this content, and (c) their tendency to regard these themes as reflections, or reinforcements, of collective values — which apparently lie hidden somewhere in the subjectivity of the collective conscience.

In all of Trier's films, emotion, subjectivity, and intuition are in their fullest forms by female characters: from Grace (Nicole Kidman) in Dogville, She (Charlotte Gainsbourg) in Antichrist, and Justine (Kirsten Dunst) in Melancholia.

It also looks at art — what it is, and what it isn't — and prompts our subjectivity to draw its own conclusion about the movie, much as it would any form of art.

Joachim Trier discusses his new film Louder Than Bombs: how he experimented with film form to show us the subjectivity of memory, the importance of two - shots...

Joachim Trier discusses his new film Louder Than Bombs: how he experimented with film form to show us the subjectivity of memory, the importance of two - shots and closeups in the film, and how he used physical spaces to convey emotional meaning.

If we feel like something is holding us back from success (rather than just plain subjectivity) and free feedback isn't helping us determine what that something might be, it might be worth it to invest in a more aggressive form of feedback.

A face, he will demonstrate, is a machine for exteriorising — exchanging, universalising — subjectivity... The face is the form of the brain in the world.»

Arte Povera chose installations of ready - mades, and found materials; the artists rejected all evidence of the artist's touch or signature, deemed as a form of devalued subjectivity.

``... Werfel's new abstractions may have abandoned the window on the world for subjectivity and improvisation, but a feeling of landscape lingers in her «organic» palette and the forms evoked by her linear accents.»

The body of work displays subject matter that attempts to challenge objectivity and subjectivity as well as challenge perceptions and constructs of visual form.

And yet there seems to be a search undertaken by Nistor to combine form and materiality with the arbitrary subjectivity of individual viewers, an approach that needs to be clarified conceptually a bit more to be successfully presented.

Reduced color palettes and the repetition of simple geometric forms, as well as industrial materials that have a symbiotic relationship to architecture, create new mash - ups that mix formal rigor with sensuality, subjectivity, personal narrative, and contemporary sexual politics.

This event forms part of our exhibition IN / DI / VISIBLE taking Achiampong and Blandy's work as a point of departure for artists» exploration of subjectivity and art's potential to represent new ways of being and becoming.

This means to abandon formalist art histories and artists subjectivities as primary discourse of legitimisation, in favour of an analytical approach to historical conditions of appearance, and in favour of a Bakhtinian aesthetic dialogism, which unearths reified, sedimented or implicated forms as interpellations.

Working under the sign of Benjamin, «Storyteller» curators Claire Gilman and Margaret Sundell grouped together fourteen artists who employ the story form as a documentary mode, setting aside Benjamin's distinction between the subjectivity of oral communication and the assumed veracity of mechanical broadcast in order to investigate the use of narrative across a swath of contemporary art.

With the pitch and timbre of an accomplished storyteller, Weems uses colloquial forms — jokes, songs, rebukes — in photographic series that scrutinize subjectivity and expose pernicious stereotypes.

In and Out of Place considers subjectivity as it is formed through a mutual exchange between bodies and their environments.

Both Ayari and Casey demonstrate a gentler form of extreme subjectivity.

Here, the artist struggles with the effable and ineffable experiences of subjectivity, the perpetual schism between the flatness of surfaces that enable linguistic communication (whether screen or page) and the more sensuous and palpable dimensions of desire and the body, which rarely find form in language.

Performativity, in this way, explores the conscious moment of staging, appropriating, archiving and re-visiting images and other forms of representation, touching on questions of historiography, mediation, subjectivity, and ownership.