Sentences with phrase «of cultural critic»

Check out her post, «Reading the Internet with Joan Jonas: The Task of the Cultural Critic in the Ambient Age.»

Like a growing number of cultural critics who are not Catholic, Kass has come to conclusions regarding contraception that are similar to the prophetic warnings contained in Paul VI's 1968 encyclical, Humanae Vitae.

Not exact matches

That «Anita» is Anita Sarkeesian, the cultural critic who has often taken on Gamergate and others in the misogynist world of online gaming.

Friendly critics of Novak have also fretted that he seems often to reach too quickly from the cultural - economic - political to the explicitly theological.

Also, if you want to learn more about economic inequality ahead of the event (or won't be able to attend the event), Cornel West — prominent intellectual, author, and cultural critic — will teach an online course on the subject in conjunction with ChurchNext, which is open to all from January 11 - 21.

This posture is assumed when those writers represent the major islands of Western literary tradition, the central cultural engine — so it goes — of racism, poverty, sexism, homophobia, and imperialism: a cesspool that literary critics would expose for mankind's benefit.

These critics err in their estimate of the contemporary cultural situation, in their understanding of what recreation is, and in their appraisal of the relation between work and play.

Rather, our cultural bias toward work and the Bible's primary concern with God's «work» of salvation have blinded traditional critics to the biblical discussions of play that are in fact present.

But what critics who point to these reasons for the loss of certainty seem too often to forget is that the Church is never only a function of a culture nor ever only a supercultural community; that the problem of its ministers is always how to remain faithful servants of the Church in the midst of cultural change and yet to change culturally so as to be true to the Church's purpose in new situations.

In Tangled, the Walt Disney Company's new animated, feature - length, 3 - D adaptation of «Rapunzel,» critic Armond White finds, sadly, that the story of the girl with the very long locks not only «has been amped up from the morality tale told by the Brothers Grimm into a typically overactive Disney concoction of cute humans, comic animals, and one - dimensional villains,» but also that the film's «hyped - up story line... gives evidence that cultural standards have undergone a drastic change» in the decades since Walt Disney first set out to charm both children and adults with his animated retellings of fairy tales.

But its roots are traceable to the end of the 19th century when influential cultural critics - Matthew Arnold chief among them - drew critical attention to deep concordances between religion and art with their predictions that, in Arnold's famous phrase, «most of what now passes with us for religion will be replaced by poetry.»

Maybe the final stage of our rebuilding — or, really, with our young and talented philosophical cultural critics — being built better than ever — is a long, windbag, off - the wall, semi-philosophical post by ME.

For some distance and detachment, we turn to the deeper cultural and philosophical analyses of our friendly European critics Pierre Manent and Roger Scruton.

By juxtaposing the concerns of Dawson and Eliot to the cultural criticism of the Frankfurt School and other social critics like Neil Postman, one can begin to see an emerging critique of the forms of modernity during the first half of the twentieth century.

With the rise of a new cultural movement during the eighteenth century, commonly known as the Enlightenment, a new critic of the church but one which was also a helper appeared on the scene.

Pop music critic Simon Reynolds, in his book Retromania, and style - writer Kurt Andersen, in his «You Say You Want a Devolution» essay, have their finger upon a certain pattern in our contemporary cultural scenes of recyle - ment, repetition, and lack of forward motion.

While some social critics accuse youth of being lazy, indulgent, and narcissistic, others see cultural attitudes about work changing because of a transition from an industrial to a service culture.

The French who occasionally have expressed strong fears of US cultural imperialism have received «this shrine of American pop culture» enthusiastically despite some critics describing the Disney invasion as a «cultural Chernobyl» (Marguerite Duras).

By not pursuing that historical theme to the field setting of missions, Newbigin unwittingly plays into the hands of his critics who see in missions proof of Western cultural insensitivity.

As Kramer progressed through the 1950s and 1960s, he confronted an increasingly painful dichotomy: on the one hand, his brilliance as an art critic propelled him toward the center of the cultural establishment (he eventually became chief art critic of the New York Times); on the other hand, his political and moral concerns estranged him from the growing radicalism of the intellectual class that controlled the establishment.

If Kramer experienced any sort of honeymoon in his early days as a cultural critic, however, it didn't last long.

Martin Buber, another major figure to emerge from the tumultuous interwar years in Germany, is often thought to be, like Strauss, a critic of the cultural and political assumptions of the «scientific study of Judaism.»

Nonetheless, music, as literary and cultural critic George Steiner insists, «is brimful of meanings which will not translate into logical structures or verbal expression... Music is at once cerebral in the highest degree — I repeat that the energies and form - relations in the playing of a quartet, in the interactions of voice and instrument are among the most complex events known to man — and it is at the same time somatic, carnal and a searching out of resonances in our bodies at levels deeper than will or consciousness.»

A rational attitude necessarily involves critical reflection, but if such reflection is truly critical it applies itself not only to the cultural tradition but also, and with equal rigor, to the critics of the tradition.

It has institutionalized irresponsibility to such an extent, and demonized its critics so effectively, that even as it falls apart under the weight of its own contradictions, we keep pouring cultural capital into the same old schemes, hoping that all will turn out well in the end.

The effort to characterize construals of the Christian thing in the particular cultural and social locations that make them concrete will involve several disciplines: (a) those of the intellectual historian and textual critic (to grasp what the congregation says it is responding to in its worship and why); and (b) those of the cultural anthropologist and the ethnographer [3] and certain kinds of philosophical work [4](to grasp how the congregation shapes its social space by its uses of scripture, by its uses of traditions of worship and patterns of education and mutual nurture, and by the «logic «of its discourse); and (c) those of the sociologist and social historian (to grasp how the congregation's location in its host society and culture helps shape concretely its distinctive construal of the Christian thing).

Sep 2015 — Sir Ken Robinson Opens Up About Learning A noted author, educator and cultural critic discusses the benefits of Personalized Education, The Independent School Magazine (NAIS)

However, critics say the Ezzos» material overlooks or garbles important basic facts of child development, confuses matters of cultural etiquette with matters of absolute morality, and so strongly promotes their favored applications of biblical principles that their applications begin to be confused with biblical principles.

Though a satirist always risks blowback, both from those who don't get the joke and from some who do, when it comes to social criticism, I tend to follow what we might call the Joe Bob Briggs Doctrine: think of the social critic as a machine gun spraying fire across the cultural landscape, and «when a target screams, you've found the sacred cow.

After all, many critics have pointed out that van Sertima's thesis is just another form of racist cultural appropriation, this time erasing native Mesoamerican accomplishment in favor of a narrative of African dominance.

Controversial internet entrepreneur turned cultural critic Andrew Keen, who says the revolution of interactivity and user - generated content on the internet is leading to «less culture, less reliable news and a chaos of useless information» is one contributor certain to ignite debate at the two - day conference, funded by the Economic and Social Research Council (ESRC) through its e-Society programme.

Indeed, the site reminds me most of a great, unfinished study of 19th - century urbanism called Passagenwerk, an elaborate collection of photos, quotes, advertisements, clippings, and short aphorisms compiled by the German cultural critic Walter Benjamin during the 1930s.

Critic Consensus: The cast is warmly appealing, but with the loss of cultural context and addition of big - name celebrities, this American version loses the nuances of the original.

An assessment of the film as part of a dissertational examination of Lawrence's contribution to comedic posterity and to African - American cultural history will surely note that the film was not pre-screened for critics in advance.

And yet, probably because he came of age in a video store and has never quite lost the autodidact's air of bullish authority, some high - minded critics and cultural arbiters can't bring themselves to take him seriously as an intellectual.

Language: English Genre: Documentary / Biography MPAA rating: R Director: Steve James Actors: Roger Ebert, Werner Herzog, Martin Scorsese Plot: A look at the life and cultural impact of Roger Ebert, one of the world's renowned film critics and social commentators - from his Pulitzer Prize film reviews, to his long career with Gene Siskel to his late - life battle with cancer - it a both a poignant and insightful look into Ebert's world.

Shadows has presumably received the bulk of attention from film critics because Parajanov's subsequent experiments were linked to cultural realities far outside the competence of many a Western scholar.

Many other cultural critics have since picked up on the trope of the Manic Pixie Dream Girl, including Anita Sarkeesian who explored the issue in her Tropes vs. Women: # 1 The Manic Pixie Dream Girl video where she concludes the such characters have little of their own purpose or autonomy:

Also noteworthy, in the category of cinema ruled by cultural concerns and actual political events, was Carlos (d. Olivier Assayas), which kept a packed auditorium of critics in their seats for over five hours with a glossy, but intelligent action film version of the 1970s exploits of a terrorist born Illich Ramirez Sanchez, but known internationally as the Jackal, also by the code name Carlos; and Des Hommes et des dieux (Of Gods and Men, Xavier Beauvois), a film, elegantly minimalist in design, based on a real - life encounter between Algerian fundamentalist Islamic terrorists and a community of ascetic Christian monkof cinema ruled by cultural concerns and actual political events, was Carlos (d. Olivier Assayas), which kept a packed auditorium of critics in their seats for over five hours with a glossy, but intelligent action film version of the 1970s exploits of a terrorist born Illich Ramirez Sanchez, but known internationally as the Jackal, also by the code name Carlos; and Des Hommes et des dieux (Of Gods and Men, Xavier Beauvois), a film, elegantly minimalist in design, based on a real - life encounter between Algerian fundamentalist Islamic terrorists and a community of ascetic Christian monkof critics in their seats for over five hours with a glossy, but intelligent action film version of the 1970s exploits of a terrorist born Illich Ramirez Sanchez, but known internationally as the Jackal, also by the code name Carlos; and Des Hommes et des dieux (Of Gods and Men, Xavier Beauvois), a film, elegantly minimalist in design, based on a real - life encounter between Algerian fundamentalist Islamic terrorists and a community of ascetic Christian monkof the 1970s exploits of a terrorist born Illich Ramirez Sanchez, but known internationally as the Jackal, also by the code name Carlos; and Des Hommes et des dieux (Of Gods and Men, Xavier Beauvois), a film, elegantly minimalist in design, based on a real - life encounter between Algerian fundamentalist Islamic terrorists and a community of ascetic Christian monkof a terrorist born Illich Ramirez Sanchez, but known internationally as the Jackal, also by the code name Carlos; and Des Hommes et des dieux (Of Gods and Men, Xavier Beauvois), a film, elegantly minimalist in design, based on a real - life encounter between Algerian fundamentalist Islamic terrorists and a community of ascetic Christian monkOf Gods and Men, Xavier Beauvois), a film, elegantly minimalist in design, based on a real - life encounter between Algerian fundamentalist Islamic terrorists and a community of ascetic Christian monkof ascetic Christian monks.

What makes the data from Rotten Tomatoes so brutal is that they depict not just one person's opinion of Shyamalan but the collective assessment of all our cultural critics.

The Focus Features release, which opened Christmas Day, was one of the year's last major entries to screen for craft guilds and critics» groups, giving it little time to court industry momentum and seep into the cultural consciousness.

Extras: New audio commentary featuring jazz and film critic Gary Giddins, music and cultural critic Gene Seymour, and musician and bandleader Vince Giordano; new introduction by Giddins; new interview with musician and pianist Michael Feinstein; four new video essays by authors and archivists James Layton and David Pierce on the development and making of «King of Jazz»; deleted scenes and alternate opening - title sequence; «All Americans,» a 1929 short film featuring a version of the «Melting Pot» number that was restaged for the finale of «King of Jazz»; «I Know Everybody and Everybody's Racket,» a 1933 short film featuring Paul Whiteman and His Orchestra; two Oswald the Lucky Rabbit cartoons from 1930, featuring music and animation from «King of Jazz.»

The heyday for American film criticism was the»70s because I think the people that got into it at that point were really inspired by the likes of Andrew Sarris and Pauline Kael, both of whom became famous and established the importance of film critics as a cultural force.

City of Gold (Director: Laura Gabbert)-- Pulitzer Prize - winning critic Jonathan Gold casts his light upon a vibrant and growing cultural movement in which he plays the dual roles of high - low priest and culinary geographer of his beloved Los Angeles.

In a lengthy new piece for The Atlantic, prominent cultural critic (and Black Panther scribe) Ta - Nehisi Coates digs into Barack Obama's presidential legacy as seen from the perspective of the Trump era.

Russian Critics on the Cinema of Glasnost, edited by Michael Brashinsky and Andrew Horton, is a book in two parts: the first, Films in a Shifting Landscape, is a series of essays analyzing the historical and cultural legacy that shaped three generations of Soviet film criticism; the second, Glasnost's Top Ten, is a compilation of... read more»

No, it's not the latest «'' Hunger Games» movie or the sequel to «Thor,» but rather a showcase of philosopher and cultural critic Slavoj Zizek talking at length about cinema for over two hours.

For a medium that's treated like the redheaded stepchild of the film world, then, it is especially maddening for cultural critics to hold it to a higher standard of quality only when they feel like it.

As ever, the actual, individual tastes of critics and audience members vary, and there's a danger in trying to assign a cultural consensus to every movie.

These critics each tackle a handful of episodes by themselves, offering exhaustive discussions of The Outer Limits and the political and cultural atmospheres that yielded it.