Sentences with phrase «national cultural identity»

Any sense of a national cultural identity comes through the ad hoc development of pop culture — the movies; rock and roll; youth culture.

Today Iran, Azerbaijan, Afghanistan and the greater region influenced by the Persian culture (such as Georgia, Armenia, Turkey and Dagestan) celebrate this national epic.The work is of central importance in Persian culture, regarded as a literary masterpiece, and definitive of the ethno - national cultural identity of modern - day Iran, Afghanistan and Tajikistan.

«The award shine a light on those communities that for years have struggled to be recognized for their ancestral value and their contribution to national cultural identity.

Not exact matches

The hi - tech multimedia, dictated by the corporate powers and agencies of the global market, subjugate cultural subjecthood, cultural values, style of life, perceptions of beauty, and religious mystery in life, as well as ethnic, national identities of persons and community to the market wasteland of cultural life.

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

The multimedia, directed by the corporate powers and agencies of the global market, subjugate cultural subjecthood, cultural values, life styles, perceptions of beauty and religious mystery, as well as ethnic national identities of persons and communities to the market's cultural wasteland.

But, as Christians, we must not elevate the distinction of national, ethnic or cultural identity over our higher identities as disciples of Christ and as human beings, both of which expand our most important communities far beyond the borders of the United States.

Not only did it not possess the shared language, culture, and national identity that have defined many nations; it had more social and cultural variety than even the continent of Europe.

Furthermore, there is a centrist political pull that seeks to draw nations together within a new political order or geo - political system, defined not in terms of national sovereignty or cultural identity but in terms of the economic well - being and styles of life of certain powerful nations.

The foreign debt continues to be an issue and new voices have began to sound the need to look for ways to face it; (ii) At the national level two questions are concentrating increasing attention: one is the reassessment of the necessary role of the state to correct the distortions of a runaway market (currently discussed in Europe and in the discussions about the role the initiatives of «an active state has played in the economic development of Asian countries); the other is the need for a «participative democracy over against a purely representative formal democracy: in this sense the need to strengthen civil society with its intermediate organizations becomes an important concern; (iii) the struggle for collective and personal identity in a society in which forced immigration, dehumanizing conditions in urban marginal situations, and foreign cultural aggression and massification in many forms produce a degrading type of poverty where communal, family and personal identity are eroded and even destroyed.

Statists includes both nationalists, who see intrinsic value in the nation - state as a protector of cultural and national identities, and liberal statists, who see the state as uniquely capable of enforcing the benefits and burdens associated with justice.

It is hard to argue against the fact that countries are influenced in their strategic thinking and security policies by historical narratives of their respective national «cultures», which have sources in history, a shared sense of identity, folklore and cultural heritage.

This has triggered a greater sense of local and regional identities, driving of a quest for more scope for independent action, based on cultural, historic and / or rekindled national identities and sense of shared purpose.

Finally, national identity, the most symbolic aspect of sovereignty proudly brandished by right - wing populists, has largely been impacted by these supranational evolutions as well as by the cultural diversification of European societies.

[4] In addition to strong family values, India has a very strong cultural and national identity that cuts across religious beliefs, which has played an important role in preventing radicalization.

Posted on 17th June 2014 in Expectations of constitutional change, Cross border attitudes, National identity & cultural issues

Our social institutions, public policy and the way we think about our society and national identity has to catch up with this massive cultural shift.»

The «Prayer Survey»: http://www.churchofengland.org/media/1704430/prayersurvey.pdf The Church of England's press release: http://www.churchofengland.org/media-centre/news/2013/03/four-out-of-five-believe-in-the-power-of-prayer.aspx Read the previous BHA press release, «Census results show huge shift in cultural identity from Christianity to no religion», 11 December 2012: http://humanism.org.uk/2012/12/11/census-results-show-huge-shift-in-cultural-identity-from-christianity-to-no-religion/ The British Humanist Association is the national charity working on behalf of non-religious people who seek to live ethical and fulfilling lives on the basis of reason and humanity.

«He said cultural heritage is a key to economic development and, in a country so divided, critical for a strong national identity,» Stein recalls.

The games and matches often stand in for cultural struggles around race, class, gender, and national identity — but that struggle is the subtext, and the movie brings it to the fore.

«The Other Dream Team»: The 1992 Lithuanian national basketball team went from the clutches of communism to the Summer Olympics in Barcelona — a testament to the powerful role of sports as a catalyst for cultural identity.

The main cultural strand of development works to encourage a sense of national identity in young people, while at the same time encouraging them to be part of a diverse and multi-cultural society.

This includes learning about the origins and development of Australia's national identity and the forging of its cultural heritage.

At the same time, she reveals how complicated it is when cultural, national, and religious identities intersect; even before adding the culture shock that comes with immigration to a new country with completely different social rules.

We need a way of teaching that encourages them to develop understanding of those different from ourselves, enabling constructive collaborations across national and cultural origins and identities.

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].

The exhibition draws upon the Wolfonian's collection to explore issues of identity — personal, corporate and national — as well as the impact of cultural displacement on the history of design and the role of commercial art in the modern city.

Transcending ideas appropriated to loci of analogous geopolitical status, Socratous» visual language surveys notions of displacement, national and cultural identity, socio - economic and historical discourse to challenge the topical subject of migration and the shifting ideologies recurring in today's political habitat.

These tranquil and dreamlike works evoke nostalgia and longing, exploring the search for individual and national identity in Japan during the early Taisho period (1912 - 1926), an era of rapid social and cultural change.

Bezalel was a cultural enterprise, reflecting the zeitgeist as well as the need to create a new Jewish - national identity.

Shonibare's questioning of cultural and national definitions is a pertinent one for Hong Kong, whose identity has been affected by the conflicting influences of Chinese and British colonialism.

The artist's last major work, «The Unfinished Conversation», a multi-layered installation investigating cultural, ethnic and personal identity, was shown in Tate Britain for six months in 2013, and acquired for the National Collection.

Through his rigorous work Gavin Murphy makes visible the histories of The Hugh Lane as a municipal museum, as a space for defining, contesting, and interrogating national, cultural identities.

Razmi's body of work focuses on issues of identity and gender while appropriating national, cultural and artistic references to reposition pop - culture within a contemporary Iranian context, giving her re-embodied, re-contextualized works a tongue - in - cheek quality.

He questions the meaning of cultural and national definitions and he asks what constitutes our collective contemporary identity today while condemning the excess of destruction due to the humans excess violence against the Earth.

In her work, Aleksandra Domanović takes a probing look at a wide range of phenomena of contemporary society, among them cultural techniques, scientific and technological developments, history and culture, popular culture and the shaping of national and cultural identity.

Yinka Shonibare MBE's works bring together disparate cultural references and material to explore issues around colonialism and post-colonialism within the contemporary context of globalisation, as well as issues of national and racial identity and class and cultural politics.

Traveled to Grazer Kunstverein, Austria and The Studio Museum, New York Tenth Anniversary Exhibition, 100 Drawings and Photographs, Matthew Marks Gallery, New York (catalogue) 2000 Made in California: Art, Image and Identity, 1900 - 2000, Section 5, 1980 - 2000, Los Angeles County Museum of Art (catalogue) 1999 Through the Looking Glass, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, NY 1995 In a Different Light, (co-curator), University of California, Berkeley Art Museum (catalogue) Into a New Museum - Recent Gifts and Acquisitions of Contemporary Art, San Francisco Museum of Modern Art 1994 Body and Soul, (with Cindy Sherman, General Idea and Ronald Jones), Baltimore Museum of Art Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art Don't Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra (catalogue) Black Male, Whitney Museum of American Art, New York (catalogue) 1993 Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI Facing the Finish, Art Center College of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue) Facing the Finish, San Francisco Museum of Modern Art Louder, Gallery 400, University of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, Bologna.

Xu Bing is known for large - scale installations that incorporate a variety of materials, such as tobacco, silkworms and corn husks, that address issues of cultural and national identity, social change, environmental advocacy and surveillance.

Stemming from her South American heritage and migration to Europe, Calero constructs social spaces that use sensory engagement as a democratic entry point for audiences to investigate socio - political themes of cultural representation and national identity.

At a time when identity, shared culture and civic values are increasingly relevant to us all, the National Portrait Gallery is uniquely placed to generate a discussion by reflecting on our common artistic, cultural and social history — in short, on what binds us together.

This body of work illustrates Carrillo's masterful ability to capture the mood of his home country in an era of cultural transformation and an evolving national identity.

Named after the artist's only appearance at the Biennale, in the French Pavilion's 1956 show Femme de Venise, it explores concepts of national identity and cultural policy.

Alina and Jeff Bliumis's work concerns the politics of community, cultural displacement, migration and national identity.

She creates conceptually based socio - political, cultural and environmental objects, installations and performances that take on broad subjects such as feminism, national identity, climate change, war and the economic crisis.

Her doctorate in Art History is from the University of Sussex, and her thesis examined notions of Britishness, national identity and cultural diversity in contemporary art since 1980.

Adorning them with patterns from African Dutch batik fabric, Shonibare has designed his sculptures to evoke the billowing sails of trade ships, conjuring notions of cultural history and national and ethnic identities.

Many of his works including the Global Miniatures (2009), display Bayjoo's signature style of creating politically and culturally charged collages where symbols of national identity — flags, maps and cultural motifs — are combined with translucent layers of paint, reflecting on the effects of colonialism and migration.

From New York, throughout the 1990s and 2000s, her work has been positioned in multiple platforms, reinforcing the globalized art world's questions of geography, cultural and national identity, discipline, and form.

A 2000 graduate of the Whitney Museum Independent Study Program, Geyer works with photography, video and performance, using both fiction and documentary strategies in order to address larger concepts such as national identity, gender, and class in the context of the ongoing re-adjustment of cultural meanings and social memories.