Sentences with phrase «identity as a movement»

Not exact matches

As Henry Kissinger emphasizes in his new book World Order, the fundamental building block of all American and international engagement over the past hundred years — namely, the nation state and the Westphalian system in which states are embedded — is particularly weak in the Middle East due to fragile national roots and competing local and universalist identities, including pan-Arabic movements and messianic religious calls from the likes of Iran's ayatollahs and ISIS.

Metz recognizes Christianity as a movement constituted by a living identity with Jesus.14 The socio - historical approach would prefer to speak of a movement constituted by living continuity with Jesus, but for it, too, this continuity would constitute its Christian identity.

Upon careful analysis, at least ten such points become apparent: (1) Blake alone among Christian artists has created a whole mythology; (2) he was the first to discover the final loss of paradise, the first to acknowledge that innocence has been wholly swallowed up by experience; (3) no other Christian artist or seer has so fully directed his vision to history and experience; (4) to this day his is the only Christian vision that has openly or consistently accepted a totally fallen time and space as the paradoxical presence of eternity; (5) he stands alone among Christian artists in identifying the actual passion of sex as the most immediate epiphany of either a demonic or a redemptive «Energy,» just as he is the only Christian visionary who has envisioned the universal role of the female as both a redemptive and a destructive power; (6) his is the only Christian vision of the total kenotic movement of God or the Godhead; (7) he was the first Christian «atheist,» the first to unveil God as Satan; (8) he is the most Christocentric of Christian seers and artists; (9) only Blake has created a Christian vision of the full identity of Jesus with the individual human being (the «minute particular»); and (10) as the sole creator of a post-biblical Christian apocalypse, he has given Christendom its only vision of a total cosmic reversal of history.

The movements Howell mentioned were all led by powerful personalities, but they also dealt with basic issues of Baptist identity and Christian faith: namely, the balance of Scripture and tradition as norms of belief and practice (Campbellism); the nature of the true church and its identity markers (Landmarkism); and the reality of divine grace in the plan of salvation (hyper «Calvinism).

In a very different way, the new movement known as the Vineyard is also creating a worship - dominated identity.

We have abandoned our identity as a counterculture / counterchurch movement with a dissident piety and distinctive style of life.

He views it as the only movement capable of salvaging the collective identity of the Jewish people from the melting pot of modern nationalism.

For the relation between these kinds of movement is available for thought and extrinsic to time just as long as these different movements do not continuously fade into one another, such that in this movement of constant fusion with one another as definite kinds, they partly lose their identity to one another and partly result from one another.

As we learn from Nietzsche and Freud, such a reactionary movement must secretly desire the very thing it hates for the sake of its identity.

I) that Hegel identifies the law of contradiction as the alternative expression of the law of identity, insisting that both are synthetic rather than analytic, and that when each is thought through to its own inherent conclusion they both cease to be formal and abstract and, rather, transcend and negate themselves by making «contradiction» manifest as the root of all movement and life.

The whole movement back to a commitment to the church started to make more sense when I reread Erik Erikson's discussion of identity as being tied to the discovery of an ideology, a belief system, which gives one a transcendent fix on the meaning and purpose for existence.

What if evangelicals today, instead of focusing on «evangelizing» and «converting» people, were to begin to think of Jesus not as starting a new religion, but as the central figure of a movement that transcends religious distinctions and identities?

If our people can develop a strong sense of identity with their support groups, with their theological past, and with the movement itself, they will be able to go into most jobs with the social gospel as their chief and not - so - hidden agenda.

Some historians have gone so far as to argue that it was the first movement that gave the colonies any sense of common identity.28 Itinerant ministers, exemplified by the indefatigable George Whitfield, traveled from colony to colony bearing their message of repentance and redemption.

For Espinosa, food is a catalyst for regeneration and reconciliation in every sense; culinary, political and social — as well as a way to build a whole new cultural identity which both cultivates dignity and peace — a movement which she believes can benefit not only her country, but Latin America as a whole.

Furthermore the existence of a diverse, mobile, and fragmented society, containing groups sufficiently alienated to find identity in religion and a global movement of resistance rather than in the culture of their land of birth, represents a major source of vulnerability for France, as it does for Britain and others.

When the purpose is to revive a broad collective identity, the danger is to regress into an «us» versus «them» mentality, entailing troubling exclusion and discrimination As for the use of identity politics inside a protest movement, one of its dangers is to create artificial divisions hampering the emergence of a common project.

It is therefore subject to the same charges of racism and apartheid - leaning ways as any movement which centers its identity upon a shared racio - ethno - cultural heritage.

As Anixx said in a comment, in theory it's possible that there coulde be a separatist movement not driven by Greeks, but a common (East --RRB- Thracian identity.

Moreover, the incentive seems to be intrinsic, as it allows members to define their identity as part of a larger social movement.

Elements of these Framework Programmes aim to promote a European identity through such activities as supporting collaboration between scientists across national borders and encouraging movements of researchers between universities in different countries.

I became politicized later on, mainly by Americans who had left the US as a result of the Vietnam war and ended up my professors at Waterloo University and the University of Toronto, although admittedly this was a New Left politicization, with identity politics, civil rights and new social movements (feminism, gay rights, immigrant rights) displacing rather than integrating into much of the previous class - based political formations.

The labor and union movement of the time not only told the working class that poverty was nothing to be ashamed of, furthermore, regarding workers as the primary subject of the struggle to build a just and equal world, contributed to the establishment of a respectable worker identity.

In Commentary, Sohrab Ahmari makes the case that Teach for America, once a leading light of the education reform movement, has now «transformed itself into an arm of the progressive movement» and «functions as a platform for radical identity politics.»

In the 1980s the U.S. English movement identified a bilingual country as a threat to America and its identity (García Garrido & Fernández Álvarez).

Resident Evil was one of the first true survival horror games to really capture the attention of gamers, ranging from intense survival to edge of your seat scares, But as the franchise has grown there's been somewhat of an identity crisis between the old style fixed - camera movement and the newer over the shoulder view.

Kessling works across a range of media such as photography, film, and performance, and here the images reflect performative tools for exploring identity, often juxtaposing the artist's own body with objects and materials such as dust sheets, clay, fabric and paper bags used with transformative effect — the temporal nature of the performative movement frozen in a single gesture — a single still from an action, or a response to an art - historical identity.

A passage can also be seen and understood metaphorically as movement between different places, cultures, and identities.

It was a movement in emphasis, from one dominant form of art that had existed for centuries to a new and challenging one; one in which the identity of the artist was offered as a simultaneous alternative to the traditional object, historically identified as «the subject» of a piece.

They have also been seeing these movements as sites of personal expression and gendered identity.

The sections are divided thematically, with section headings such as identity crises, corporeality, personalizing the political and femmes de siecle suggesting the breadth of studies and movements examined in the book.

The exhibition is structured in chapters whose themes are the man - eating outsider or non-human; the relationship with others and construction of an individual and group identity through a dual movement of incorporation and rejection; the body as an organism capable of transformation, and which feeds on and feeds others; eroticism and all - consuming passion; violence and horror; ritual and sacrifice; and images from childhood, derived from tales and legends.

This ambitious and long overdue exhibition will bring together some of the finest works associated with the movement from around the world.The exhibition will include works by Kline, Pollock, Rothko, Newman, Still, de Kooning, Smith, Reinhardt and Gorky as well as work by lesser - known — but no less influential — artists to reveal the extraordinary breadth of a movement that gave New York City an artistic identity for the first time.

Glenn Ligon's intertextual works examine cultural and social identity — often through found sources such as literature, Afro - centric coloring books, and photographs — to reveal the ways in which slavery, the civil rights movement, and identity politics inform our understanding of American society.

While their identity as black Americans is not the motivation for their inclusion in the show, this identity is nonetheless significant in that many found themselves marginalized in a white - dominated art world that granted limited admission to black artists and again within the Black Arts movement, which rested on a revolutionary ethos that saw abstraction as a site of established privilege, limited in its ability to express political dissent and contribute to the struggle for racial equality.

His rich improvisational explorations of subjectivity, identity, and history can be linked to modes of black cultural production, such as the jazz ensemble, which encompasses a search for freeform movement among order.

This panel will look at literature, both here and in France, and how it engages the work of identity in our era of political extremism and activist movements such as Black Lives Matter in the U.S. or the Nuit Debout in France.

These artists» recasting of the movement's famous imagery posits it as a revealing entry point for analyzing 1980s and 1990s identity politics and questions of appropriation in contemporary art and beyond.

As the literary historian Houston A. Baker writes, the blues emerged from a matrix of «These include a grappling with personal and social catastrophe; an emphasis on improvisation and movement; the performance of extravagant or ambiguous identities; modes of abstraction and repetition; the expression of sexuality and intimacy; and an impulse towards archiving, sampling, and translation.

Landscape painting has also played a tremendous role in the formation of the country's identity and is represented by several examples of the Hudson River School, often described as the first American movement.

Especially as the competition between national schools of abstract painting escalated, breaking out in arguments and even punches in the case of Kline and the French painter Jean Fautrier, it would follow that the internal competition within these national schools also intensified.27 This was certainly true on the French side at the Venice Biennale: in a very unusual move, two artists — Fautrier and Hans Hartung — were awarded Grand Prizes in painting, whereas normally only one was given, because the jury could not decide between the two contenders.28 Within the context of the politics internal to the movement of abstract expressionism, Meryon could thus be seen as a reassertion of Kline's original, breakthrough style as his own and thus a defence of his personal artistic identity, after Kline himself had turned to colour, around 1955, and left it up for grabs.

He was part of a small group of dedicated artists and intellectuals who set about defining a Chicano identity and culture as part of the Civil Rights movement of the 1960s.

Challenging conventions of narrative, gender and identity, the desire for power — and the desire to destroy it — Shonibare conceived of the film as «a constant, dreamlike movement between reality and depiction of fantasy.»

The artist's largest solo exhibition to date explores blackness as a color, an idea, an identity, a method, and a political movement.

While working under Ceausescu's regime, Bratescu focused on the studio as a space for self - preservation and the protection of identity: see her filmed performance Atelierul (The Studio, 1978), in which she defines the studio with gestures even as it circumscribes her movements.

Sonia Boyce was born in London in 1962, where she still lives and works, and in the early 1980s emerged as a figurative painter, quickly gaining critical attention as part of the black British arts movement, for works that spoke about racial identity and gender.

Organized by Wadsworth Atheneum Director and CEO Susan Talbott, this selection of nearly 50 works examined social history, identity and race, as well as nostalgia for the traditional portraits that once defined photography, and outlines the transformation of photographic portraiture throughout modernist movements such as Dadaism and Surrealism.

Visitors chart a path through Brazilian art history and many of the major postwar movements, channeled through Maiolino's intimate and subjective practice exploring her identity as a migrant, mother, and global citizen.

Written at the dawn of the Civil Rights movement in the United States, Baldwin's Stranger in the Village gives an account of the author's own experience as the first African - American to visit a remote Swiss village in 1951, taking the xenophobic reaction that his arrival triggered in the villagers as a metaphor for the history of race relations, colonialism and national identity.

A world - wide coalition of activist groups mobilized by the environmental movement could yield a very positive long - term outcome: an awareness of the increasing irrelevance of human - drawn borders, the fading out of nationalism as a defining element of one's identity and ultimately an evolutionary step toward more connectedness among human beings.