Sentences with phrase «historical cultural base»

Not exact matches

We choose the interpretive framework based on the genre of the text and the cultural and historical context in which is was written.

And all of these others have also based their views on careful exegesis of the biblical text, in its grammatical, cultural, historical contexts.

(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.

If Bonhoeffer were merely formulating this concept of faith on the basis of premises derived from cultural - historical analysis, he would be indistinguishable from many liberal theologians.

For most contemporary political scientists, however, the cultural basis for party coalitions, if recognized at all, ended with the New Deal, the historical backdrop for interpretations of contemporary politics.

It is an interpretation based on my best attempt to study the grammatical, historical, cultural, and theological contexts of Scripture, but in the end, it is only my understanding of what the text is saying.

How often I have heard «the Bible is clear» (in what it says), followed by a proclamation (actually their «interpretation») of what the Bible says on a particular topic or in a particular passage that is probably way off base if one knows the historical and cultural context.

Regardless, most of my argument is based on the context and historical situation Malachi was writing to, as well as the cultural context of the sacrificial system.

Adam, My interpretation is based on the best research I know how to do from the original Hebrew text and from the historical / cultural situation in which the text was written.

Stripped of the Jewish (Hebrew) historical / cultural context, and based on some faulty definitions of terms that have crept into Christian theology over the past 500 years, the verses sound quite dire.

History based on the social - scientific interpretation of data is based on historical information along with comparative sociology and social psychology, cultural anthropology and any other cross-cultural methods that produce models based on inductive studies.

This has opened up space for a contribution from historicals, based on their middle - class cultural capital if on nothing else.

Above are some examples but publishing markets around the world fluctuate frequently based on trends hitting at different times and cultural differences meaning that (for example) while Germany may not currently be buying anything other than paranormal romance, India might be desperate for historical fiction.

Biographies (books about a person's life written by someone else), autobiographies or memoirs (books about a person's life written by that person), research - based books (medical textbooks, historical books), and cultural critiques are just a few nonfiction books that benefit from the presence of an appendix.

You're very likely to find bibliographies in the back pages of textbooks, historical nonfiction books, biographies, cultural critiques, essay collections, and research - based nonfiction books.

There are now over 20 of us working on the project on a (very) casual basis, and we run a weekly listings newsletter, have produced our first book and run cultural - historical tours.

Outdoor adventurous trips either that is trekking to Everest base camp or island peak climbing, which best suits for both the novice and veteran travelers and trekkers ranging from comfort walking alongside of cultural, historical, and religious heritage sites in Katmandu Valley to thrilling peak climbing and expedition to the world's highest mountains.

The games will be based off real historical events and dates, putting players in an immersive world with defined geological structures and having a strong cultural presence.

With its art historical and pop cultural references (which are sometimes combined), Dumas's practice is often based upon the painterly manipulation of found imagery.

We discuss, among other topics, about photography in the Middle East with Peggy Sue Amison, artistic director at East Wing; net art and networked cultures with Josephine Bosma, Amsterdam - based journalist and critic; urban digital art and criticality in the media city with curator and researcher Tanya Toft; art and technology with curator Chris Romero; the politics of surveillance and international security with political scientist David Barnard - Wills; art and architecture with Maaike Lauwaert, visual arts curator at Stroom, an independent centre for art and architecture in the Netherlands; the intersections of art, law and science with curator and cultural manager Daniela Silvestrin; the architecture of sacred places with curator Jumana Ghouth; the historical legacy of feminism today with Betty Tompkins and Marilyn Minter; hacktivism and net culture with curator and researcher Tatiana Bazzichelli; culture, place and memory with Norie Neumark, director of the Centre for Creative Arts in Melbourne; anthropology and the tactical use of post-digital technologies with artist and philosopher Mitra Azar; or feminism and the digital arts with curator Tina Sauerländer.

Do Afro - Americans wish to remain a color - based caste, or enshrine ourselves as the historical and cultural force we've become?

Performing with collaborators Chris Avitabile and Joshua Aster as the newly formed guitar trio Voluminous Sparks, Ore - Giron employs the Andean guitar tuning scale E-B-G-D-B-G as a basis for his musical arrangements and as a metaphor for cultural and historical overlaps.

The catalogue provides art historical scholarship and cultural context to the exhibition and includes essays written by Peter MacKeith, Honorary Consul General to Finland; Timo Valjakka, an independent writer, curator, and critic based in Helsinki and London; and curator O'Brien.

Gaines is a highly regarded conceptual artist known for employing rule - based methodologies such as plotting or mathematics to present his visual and often text - based renderings of historical, cultural and social inquiry.

Jim Leach (b. 1988, Cleveland, OH) is a Cleveland - based sculptor whose work challenges art historical norms while blurring the concept of artistic value and cultural worth.

Working often from a historical basis, Elana Katz's work confronts cultural conventions, critically examines the complexity that lies within contradictions, and thus aims to create an experience of unlearning the assumed.»

In lieu of a press release, Berlin - based scholar and critic Diedrich Diederichsen — who organized the show in collaboration with Galerie Buchholz codirector Christopher Müller — provided a feature - length work of art - historical exposition drawing comparisons among historically and geographically disparate cultural phenomena, fleshed out by loosely schematic displays of pertinent art and ephemera.

This symposium — moderated by Mark Nash and Allison Thompson — examines «the intersection of the artistic, theoretical, literary, and cultural dimensions» in the work of Frank Bowling, the Guyanese - born, London - based artist whose work is «deeply connected to, and inflected by Édouard Glissant's notion of a «Caribbean Discourse» — the idea that the entire critical literature and art created within the historical complex of the Black Atlantic is an ongoing process of philosophical reflection.»

Andrea Büttner produces works in a variety of media, alternating between forms like the woodcut, which privileges the use of the hand and the rough interaction of materials, and research - based projects that delineate the broader art historical and cultural contexts in which her ideas circulate.

The American artist Stephen G. Rhodes's installations, which are distinguished by the combination of diverse media, are based on selected references from a wide range of historical and cultural sources, including the American past and the histories of art and film, which he fuses into a new and dense semantic system.

The project was conceived by Alessio de Navasques and since then has been a relevant platform for both Italian and international creativity, where the modus operandi is based on traditional craftsmanship, with an eye to the future, with solid historical and cultural basis.

Fernández's conceptually - based, research intensive process of art making often contains many layers of diverse cultural and historical references; she uses devices such as proportion and unconventional material to draw the viewer into her work, evoking an individualised experience of engagement that prompts questions of both place and way - finding.

Fernández's conceptually - based, research - intensive process of art making often contains many layers of diverse cultural and historical references; she uses devices such as proportion and unconventional material to draw the viewer into her work, evoking an individualized experience of engagement that prompts questions of both place and way - finding.

The work of art was originally shown at the Royal Academy in 1835 and based on material Turner collected when he visited the spot in 1833, the painting depicts the historic fortress overlooking the Rhine near Koblenz, Germany, dense with historical references to the French Revolutionary Wars which devastated Europe and reshaped the political and cultural landscape.

Each example has a different historical, cultural and legislative basis.

In Queensland, any group of Indigenous people may claim «claimable» land on the basis of traditional affiliation54 or historical association, 55 as well as economic or cultural viability.56 This acknowledges the greater impact of colonisation within these states, which saw substantial numbers of Indigenous people removed from their traditional lands to other regions under government powers to remove and confine Aboriginal people to any Aboriginal reserve.57 It also recognises that this removal did not sever the continuing connection of Indigenous peoples to the land, both their traditional country and reserves.

Based on an exploratory study conducted in Minnesota, this course focuses on the intergenerational transmission of historical trauma among AI / AN peoples, specifically focusing on the following issues: identity and the development of a Cultural Self; the continuing impact of loss and trauma; and the ways in which the use of cultural and spiritual traditions may help community members maintain their sCultural Self; the continuing impact of loss and trauma; and the ways in which the use of cultural and spiritual traditions may help community members maintain their scultural and spiritual traditions may help community members maintain their sobriety.

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.

The first step in this process was to implement the Strengthening Families Program as initially designed for a multicultural audience, including Caucasian, Asian, Hispanic / Latino and African - Americans, modifications were then made to include three components: 1) an all African - American video was produced with original scripts based on typical family life situations encountered by families of local substance abusers; 2) all art work utilized in the program manuals was redrawn to reflect African - American heritage, and 3) certain concepts and terminology used in the program were revised to be more in line with the African - American historical / cultural frame of reference.

In this article, documented accounts of evidence - based program renewal in two teacher education programs are interpreted through the lens of Cultural Historical Activity Theory (CHAT).

That downtown foundation consists of a strong economy, a tight office market and a growing residential base coupled with plenty of historical, cultural and entertainment attractions.