Sentences with phrase «identity as constructed»

First of all, within orientation essentialism, the distinction between heterosexuality and homosexuality is a construct that is dishonest about its identity as a construct.

Not exact matches

Zuckerberg and his cohort have taken to employing tactics normally used by high - profile celebrities and movie stars, such as «purchasing houses through trusts or corporate entities so that the owners» names are not on public deeds,» in an effort to keep their identities secret while they construct megamansions throughout the Bay Area and Palo Alto in California.

As congregations first come into being, Hopewell argued, they construct a narrative that accounts for their nascent identity.

We are prone to be over-determined by circumstances, social location and identities that are secularly constructed and never able to give a full account of who we are as imago dei or an account of the journey of faith we are traveling.

Armstrong's self - deception took place on a grand scale, to be sure, but his story has too many disturbing parallels to our own, as we construct our idealized identities in our own way and become unable to let them go.

Using the Deuteronomic Creed as model, Dalit theology can construct the historical Dalit consciousness which has to do with their roots, identities and struggle for human dignity and «for the right to live as free people created in the image of God.»

Those Ukrainians, however, who emphasized their unique language and cultural traditions welcomed independence as an opportunity to construct a new national identity.

Bachmann's political identity is constructed largely around her role as a mother of five kids and her experience of taking in 23 foster children.

The state's propensity to assign individuals identities through voter registration lists and social security numbers or more generally to reinforce conceptions of individual rights serves as an example; the roles of educational systems (through individualized test scores) and professional careers (organized around cumulative skills attached to the individual's biography) provide further examples.7 This work is important because it shows the dependence of self - constructs on markers in the culture at large: the self is understood not only in terms of internal development but also as a product of external reinforcement.

Instead of viewing mothering as a service they willingly give their children, they view it as a social identity that they construct for themselves, boosting their own egos in the process.

Second, if you make a move that runs counter to the identity that you've constructed for yourself, no matter how advantageous that move may be, it's ultimately counterproductive as it calls your character into question — undesirable in a leader (and particularly in the midst of uncertainty).

Peeling off significant sections of Akan voters enables the NDC to construct an identity - based coalition that is at once nationally representative in appearance and formidable as an election machine.

Although Tomboy is as tightly constructed as a short story and as seemingly straightforward as a documentary, the parable about a small fib that grows out of control is so rooted in the rich soil of sexual identity that it entangles us.

Even though The Amina Profile works as a cyber-thriller of sorts, I think it's much more wide - reaching than that, a story about online identity, but also about the danger of media - constructed narratives, one that manages to salute both citizen journalists, but also establishment outlets like NPR.

Likewise, «Ex Machina» is very much about men and women, and how their identities are constructed by male dominated society as much as by biology.

As their feelings fester, it becomes clear their senses of self - worth are dictated by external cultural constructs, causing them to lose hold of their own identities.

Their contrasting crisis of identity will leave audiences with a lot to consider as they try to construct their own conclusions about this thoughtful tale.

Mindfulness in the Classroom: Five Skills That Influence Your Ability to Work With All Kinds of Learners — Part 6 Resilience is an essential construct to consider when working with children in an educational capacity because learning and behavioral difficulties can be devastating to a childs self - esteem and identity as a new learner.

The research examined the beliefs, values, and goals youth bring to online activities, as well as ethical considerations and identities they construct online.

Through their projects they construct theoretical knowledge of multiliteracies as they become digital storytellers of their own identities, and they construct technological pedagogical content knowledge (TPCK) about how to integrate such digital video technology in their future classrooms.

Exploring them further, Mitra suggests that student voice increasing student agency by increasing their abilities to articulate opinions to others; constructing new student identities as change makers; and developing a greater sense of leadership.

Preliminary findings reveal the ways neoliberal logics frame the goals of the program, pathologizing identity practices seen as unproductive, and discursively constructing an idealized Latino masculinity that was deemed respectable, individualistic, entrepreneurial, and both heterosexual and patriarchal.

Moreover, Dr. Leonardo argues, the construct of whiteness continues to shape global cultural identities even as it fragments our total understanding of race.

As students learn to use technology tools to build representations of a social world's characteristics, they generate reflective critical thought through their analysis and critique of the identities, relationships, and values constructed by the cultural practices and discourses in that social world.

Both facilities have been designed and constructed as per the latest Corporate and Dealer Identity Guidelines of Jaguar and Land Rover.

By the deliberate efforts of post-revolutionary governments the «Mestizo identity» was constructed as the base of the modern Mexican national identity, through a process of cultural synthesis referred to as mestizaje [mestiˈsahe].

In describing her distinguished practice, the gallery said she has «emerged as a central voice in a generation of American artists questioning constructed societal historical narratives and the performative crafting of identity.

Highlighting artists from across the globe and generations, Self Proliferation explores female identity politics and the construct of «self» as modern culture has defined women, but with a common backdrop of varied landscapes.

«[Lorna Simpson] has emerged as a central voice in a generation of American artists questioning constructed societal historical narratives and the performative crafting of identity.

By setting intimate moments alongside landmark events (such as the Black Popular Culture Conference in 1991, the truce between the Crips and the Bloods in 1992, the Black Male exhibition at the Whitney in 1994, and the Black Nations / Queer Nations Conference in 1995), the archive constructs collective and private narratives to comment on identity, desire, sexuality, and loss.

Spanning a broad gamut of themes and applied constructs, the show includes such as early works as shots taken in Nadar's 19th century Parisian studio, of the mime artist Charles Deburau posing as Pierrot the clown (an example of a performance played out purely for the camera); through the theatrical and conceptual work of Carolee Schneemann and Paul McCarthy; nuanced developments of self - identity in the work of Marcel Duchamp, Cindy Sherman and Andy Warhol; and onto the hyper - contemporary world of selfies and social - media disseminated flotsam.

Gholizadeh works with the idea of the veil as a physical and social construct that forms, not only one's status and identity, but also a sense of social distancing from others.

An army of beautiful monsters are the fable of the artist and his surroundings: the embryonic sexuality of nature as the social construct of identity -?

Three themes that emerge from her work are explored in Outcasts: finding a voice, the process of constructing multiple perspectives on female identity; hybrid alternatives to the status quo, harnessing ancient and modern mythologies to subvert the established social and cultural order; and healing and empowerment as pathways to resistance, inclusiveness and recovery from loss and trauma.

«Historically women have used self - portraiture as a means to address their own identity in relationship to contemporary society and social constructs.

Presented as a cinematic installation recalling the format of painted panoramas, «Halka / Haiti» probes the present - day power of traditional artistic genres to embody, represent, and, ultimately, construct national identities in the 21st century.

The show reflects on a number of interesting notions: the ways in which postwar black artists have constructed their identity through their reliance on abstraction; the formal affinities between artists of different generations; and the role of non-figurative art as both personal expression and political impetus.

Heidrun Holzfeind uses photography, documentary video and sculpture to explore individual and collective narratives that reveal the concept of identity as a social construct dependent on cultural and socio - economical circumstances.

Presented together, the videos embrace malleable identity as a function of the story we construct about ourselves as subject or artist — one in which representation not only mediates knowledge through fragmentation and negation but constructs it as well.

What makes this even more noteworthy is that he himself is a fan, subject to the same process of collecting stuff as a way of constructing one's identity as the kids around the globe who fetishize his work.

Maheshwari adds, «Playful, melancholy, and at times shocking, his works re-sensitize us to the everyday violence of images and reflect the fictions of memory and identity that we construct as we increasingly slip between screen worlds and the real world.»

Inviting a community of Santa Monica based youth into the Artist Lab, while simultaneously realizing a body of work based on objects and texts found in an estate sale at Chinatown's Charlie James Gallery, Fallah has represented a circle of life in his project: portraits of identity constructed forensically on behalf of the deceased, contrasting with his portraits at 18th Street made collaboratively with youth to describe their lives as yet unknown.

Disturbing Innocence features over fifty artists using surrogate imagery such as dolls and mannequins to pose questions regarding the «social constructs of youth, beauty, transformation, violence, sexuality, gender, identity, and loneliness.»

MPVAC investigates the emergence of digitally constructed identities, theoretical fictions, Amerika composts various art personas and classic 20th century artworks into a narrative sequence of mobile phone video images that conjure up both the spirits of the past as well as hauntological actors of the present.

Appropriating the name of a popular brand of French notebooks, the group's members use this construct to approach the notion of artistic identity itself as being the equivalent of Warhol's Brillo Box or Duchamp's Fountain — a preexisting object that can be transformed by recasting it in a new context.

Throughout the 20th century and into the 21st, artists from Latin America have embraced photography as a means of capturing their surroundings, documenting episodes of social injustice and political upheaval, and constructing images of national identity.

Exploring the apparent increasing similarity between mediated reality and reality itself, the artists in the exhibition use humor, irony and subversion to investigate how our reality is constructed by media, advertisements and the products we consume, as well as the repercussions these may have on the construction of the self and identity.

'' (1993), considered how whiteness, initially constructed as a form of racial identity, came to become a form of property affirmed and protected by American law.

Cheryl I. Harris is a leading scholar in the field of critical race theory — her seminal text, «Whiteness as Property» (1993), considered how whiteness, initially constructed as a form of racial identity, came to become a form of property affirmed and protected by American law.

[4]» Thomas» work unmasks the constructed barriers that attempt to constrict manifold identities through presenting the mask itself — a motive that potentially contributes to this history, as it undoes it.