Sentences with phrase «on ancient memory»

While great attention therefore needs to be paid to the manipulation of power and the management of economic and political forces, we know that the primary mode by which a community reconstitutes itself is by its interpretation, by its reflection on ancient memory and tradition, and by its recasting of that memory and tradition in new ways that are resonant with the new situation.

Not exact matches

This is how the ancients of Israel saw it — they would live on in the memory of their posterity, as long as their lamp did not die out.

``... while my baby nursed, fussed or was just otherwise awake,... [I would recall] every detail of his birth so that I c ould commit it to memory... Then I started writing it down during those hours - long midnight visits, typing one - handed on my now ancient Blackberry in a memo folder.

Amazing memory of ancient events i fix ac's now lol i need to get to more shows, but if i had a partner i would be more active on tour...

It changes shape, taking on substance: like an old memory — as if she was someone I used to know a long time ago, and for me that sort of ancient recognition is rare and disturbing as waking to the sight of a ghost.

A unique artifact — one that may hold the key to returning Kali's memories — is uncovered by the archaeology firm where she works part - time, sending Kali and Rhane on a dangerous journey that leads them to the Forbidden City, into the unforgiving Gobi, and into the ruins of Rhane's ancient homeland.

Then we get back on the plane, go home, write up the story and (eventually) do it all over again in another locale, the palimpsest of historic buildings, empty wine bottles, ancient temples, plane delays, and countless interviews with interesting people helping to quickly erase previous places from our memory.

Her lexicon focused on the gesturing female figure as the protagonist, moving across space and defying the strictures of linear time by mixing historical narratives, drawing equally from ancient working processes and formats with her activist orientation and an ongoing questioning of the formation and construction of memory and representation, particularly the representation of women.

Khorkom, and related works on the same theme, stand at this crossroads in the fertile years when Gorky felt his art should ocnvery his «living dreams» of childhood memories and his ancient homeland.

Elusive early paintings, such as Révolution Pastorale (1978 - 1981), provide a seemingly idyllic memory (after the Vietnam War, according to the notes) with ancient spiritual figures on the bank of a river.

In his three - dimensional sculpture Nivola drew on his childhood memories of Sardinia, his early years as a mason there, and the ancients.»

Inspired by a trip to Mexico more than twenty years ago, the Wall of Light series builds from the artist's memory of light and shadow playing on ancient Mayan ruins.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

It gathers an outstanding selection of relevant texts on memory and sorrow by ancient and modern philosophers, historians and writers from Plato to Derrida, including Aristotle, Cicero and Thomas Aquinas; Diderot, Hegel and Nietzsche; and Proust, Benjamin and Warburg.

In a similar vein, the ancient Norse — drawing, perhaps, on some racial memory of climate change in the prehistoric past — insisted in their eschatology that the end of the world (Ragnarok, marked by warring among gods and men and great natural disasters) would be preceded by three great winters or «fimbulwinters.»