Sentences with phrase «part cultural study»

Part women's studies, part cultural study, Shapiro's entertaining and enlightening book charts a revolution in food creation and preparation.

Not exact matches

By the time I had graduated, the field had become «one that maintains its interest in literary texts but explores all forms of aesthetic speech and that views performance as an art and recognizes its communicative potential and function» There were three challenges to those of us graduating with doctoral degrees in this discipline: 1) to locate which performances within art and / or culture we would focus our attention on as scholars and performers; 2) to interpret the core concepts generating from the cultural turn in our discipline to other studies of culture and human communication and 3) to develop «performance - centered» methods of research and instruction in whatever parts of the university we found ourselves.

As part of an exhaustive study (examining forty thousand speeches) of religious pronouncements relating to cultural change in Finland, Tapio Lampinen discusses open and closed communications systems.

If she follows trends found in every major study of higher education since the 1950s, Paula's experience of college will have a secularizing impact on her faith, mediating the intellectual relativism and cultural eclecticism that is so much a part of her postmodern world.

Part of an Australian Research Council funded study titled Being and becoming musical: towards a cultural ecological model of early musical development, the study aims to provide a comprehensive account of how Australian families use music in their parenting practices and make recommendations for policy and practice in childcare and early learning and development.

The kids in the new study were part of a long - term study of cultural differences in memory and learning.

From Favero's perspective, this type of collaboration between conservators, art scholars, and scientists has become an essential part of studying art and cultural heritage.

Curcumin, a polyphenol in the Indian spice turmeric with elaborate anti-inflammatory mechanisms was recently found to be as effective as Prozac in small a randomized study I discuss here.35 Fermented foods, a part of traditional cultural diets, would also play a beneficial role, in this paradigm of microbiome - oriented, diet - supported mental health in ways stated here: 36

When that social - studies curriculum was imposed in West Virginia, it provoked many people in that state to rise in rebellion, in part, because the curriculum taught cultural relativism.

Students from HGSE and from across Harvard University traveled to New York City for a week to study cultural entrepreneurship as part of a J - term trip with the Harvard Innovation Lab.

Study of music, dance, drama, and visual arts, including their history and cultural influence, should be part of every student's education.

A 2010 study on a pilot system in Chicago found, for instance, that when using the high end of the scale, principals often inflated their ratings compared to other observers, in part because of cultural expectations.

Prompts should be based on the cultural knowledge the students possess as well as the information they have learned as part of their academic studies.

AIPCS is one of six highly prescriptive schools Whitman studied, where «noncognitive skills» — responsible behaviors such as self - discipline and cooperativeness — are part of the cultural capital the curriculum delivers.

While it is not China in terms of opportunities, learning experience, and cultural experience, studying in Delhi, whose population is around 20 million people, definitely has to be a part of the conversation.

You can get more involved in the culture of Peru or Argentina by choosing to take part in one of our Spanish courses & cultural activities, a program that combines Spanish study with specialty workshops in areas such as salsa dance, music, Peruvian cooking, weaving, and much more.

Leo Valledor (1935 - 1989), a Filipino American artist who grew up in the Fillmore district of San Francisco, studied Abstract Expressionism at the California School of Fine Arts (currently, San Francisco Art Institute) and was part of the «Beat» scene — the cross cultural and dynamic fusion of visual art, jazz music and poetry.

For Wanderlust, Issa presents the sculpture Heritage Studies # 10, a five - foot - long copper cylinder, part of her ongoing work «Heritage Studies» begun in 2015, which includes formal reinterpretations of cultural artifacts drawn from various historical and museological sources.

Lehigh University Art Galleries • Teaching Museum (LUAG) inspires, develops, and promotes visual literacy and cultural understanding through cross-disciplinary educational opportunities that supplement formal classroom study, as an educational laboratory to benefit students, faculty, and the community - at - large as part of the university learning experience.

The Hartley collection is an important and invaluable part of the artistic and cultural heritage of the state of Maine, and is an actively studied research field for students and faculty of Bates, and also scholars and artists around the world.

Instead in 1947, he took his G.I. Bill money and went to study art in Paris, where he met such cultural figures as Antonin Artaud, Alberto Giacometti and Jean Cocteau, in whose film «Orphee» he had a bit part.

LUAG inspires develops and promotes visual literacy and cultural understanding through cross-disciplinary educational opportunities that supplement formal classroom study as an educational laboratory to benefit students, faculty, and the community - at - large as part of the university learning experience.

Support Folly / Function, a partnership of Socrates Sculpture Park and The Architectural League of New York, is supported with a generous grant from the Graham Foundation for Advanced Studies in the Fine Arts, and made possible, in part, by public funds from the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, and the New York City Department of Cultural Affairs, in partnership with the City Council.

Part of Frieze's non-profit program and featuring today's most influential artists, thinkers and cultural figures, Frieze Talks is curated by Tom Eccles (Executive Director, Center for Curatorial Studies, Bard College, New York).

Leo Valledor (1935 - 1989), an Asian American artist who grew up in the Fillmore district of San Francisco, studied Abstract Expressionism at the California School of Fine Arts (currently, San Francisco Art Institute) and was part of the «Beat» scene — the cross cultural and dynamic fusion of visual art, jazz music and poetry.

About Leo Valledor: Leo Valledor (1935 - 1989), a Filipino American artist who grew up in the Fillmore district of San Francisco, studied Abstract Expressionism at the California School of Fine Arts (currently, San Francisco Art Institute) and was part of the «Beat» scene — the cross cultural and dynamic fusion of visual art, jazz music and poetry.

He has been part of a pioneering study group on Cultural Utilisation of the International Space Station, for the European Space Agency.

This «in conversation» follows on from the symposium BMW Tate Live: Experience as Institution — Part 1: Artist collectives and cultural platforms in Africa, staged at Tate Modern in November 2013, which took the example of the Laboratoire Agit - Art founded in Dakar, Senegal, in the 1970s as a case - study to reflect on the current presence of artist collectives and cultural platforms in Africa.

Ideology., Hammer Museum, Los Angeles Polypersephone: Nayland Blake & Claire Pentecost, Iceberg Projects, Chicago 2013 NYC 1993: Experimental Jet Set, Trash and No Star, New Museum, New York A Different Kind of Order: The ICP Triennial, Institute of Contemporary Photography, New York Nayland Blake, Thomas Demand, Trisha Donnelly, Vincent Fecteau & Wade Guyton, Matthew Marks Gallery, Los Angeles Macho Man, Tell It To My Heart: Collected by Julie Ault, Artists Space, New York 2012 The Bearden Project, The Studio Museum, New York Shift: Projects Perspectives Directions, The Studio Museum, New York R.P.F.P. (RIRE.POSITIONNER.FILMER.PERFORMER), École Européenne Supérieure D'Art de Bretagne as part of the festival Transversales Cinématographiques, L'Université Rennes 2, France 2011 Legacy: The Emily Fisher Landau Collection, Whitney Museum of American Art, New York Carter / Nayland Blake, Gallery Paule Anglim, San Francisco The Air We Breathe, San Francisco Museum of Modern Art 2010 Selections from the Hammer Contemporary Collection, Armand Hammer Museum of Art and Cultural Center, Los Angeles Owen Smith and Nayland Blake: Two One - Person Shows, Richard L. Nelson Gallery, University of California, Davis 2009 Consider the Lobster, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Contemporary Outlook: Seeing Songs, Museum of Fine Arts, Boston 2008 The Puppet Show, Institute of Contemporary Art, Philadelphia 2006 Into Me / Out of Me, MoMA PS1, New York.

2000 The Work Shown in this Space is a Response to the Existing Conditions and / or Work Previously Shown Within the Space III, Neuger Riemschneider, Berlin, DE Sequences, Galerie Roger Pailhas, Marseille, FR La Frontière, Recit d'Expériences, one of several exhibitions collectively entitled «Réseau Galleries / Multilangages de l'Art», Institut d'Art Contemporain - FRAC Rhône - Alps, Villeurbanne / Collège de Prévessin - Moëns (Ain), Academie de Lyon, FR TransAct - Platform for Transitional Activities in the Cultural Field, «Museum in Pro-gress» in cooperation with «Art Pool», Vienna, AT Shoot: Moving Pictures by Artists, Malmö Konsthall / The Cinema Spegeln / Restaurant Hipp, Malmö, SW; Living Art Museum, IS, as part of Kyikar Myndir show, Reykjavik, IS Never Exhibited: Works from the Marieluise Hessel Collection, Center for Curatorial Studies, Bard College, Annandale, New York, US Copyright / Copywrong, Ecole Régionale des Beaux - Arts de Nantes, Nantes, FR Thirtieth Anniversary Benefit Silent Auction, White Columns, New York, US Two by Two for Aids and Art, Dallas Museum of Art, Dallas, Texas, US Dust and Dirt, De Witte Zaal in cooperation with SMAK, Ghent, BE L'Elemento Verbale Nell» Arte Contemporanea, Galleria Martano, Torino, IT; Galleria Martano, Milan, IT Sentimental, Galerie Yvon Lambert, Paris, FR Die Natur der Dinge, NRW - Forum Kultur und Wirtschaft, Düsseldorf, DE Pure, one of several simultaneous exhibitions around UK, collectively entitled On the FRAC Track: A Selection of International Art from the Collection of Fonds Régional d'Art Contemporain (FRAC), Nord - Pas de Calais, Maidstone Library Gallery, Maidstone, UK Under the Apple Tree, Galleria Massimo de Carlo, Milan, IT A Tribute to Robert Hopper, Yorkshire Sculpture Park, West Yorkshire, UK From Here to There - Passageways at Solitude, Akademie Schloss Solitude, Stuttgart, DE Topologies, White Box, New York, US Multiple Configurations: Displaying the Contemporary Portfolio, Busch - Reisinger Museum, Harvard University, Cambridge, Massachusetts, US Heimatweh — Fernlust, Galerie Herbert Winter, Vienna, AT In the Mirror of Space and Time, Listasafns ASÍ, Reykjavik, IS Árátta, Listasafn Kópavogur, Reykjavik, IS Recent Works on Paper, Leo Castelli Gallery, New York, US Présumés Innocents: l'Art Contemporain et l'Enfance, Musée d'Art Contemporain, Bordeaux, FR l'Oeuvre Collective, les Abattoirs, Toulouse, FR Arteast 2000 + The Art of Eastern Europe in Dialogue with the West, from the 1960s to the Present, Moderna Galerija Ljubljana, SL Works by Peter Friedl, Thomas Hirschhorn, Lawrence Weiner, Arndt & Partner [Gallery], Berlin, DE (E Così Via)(And So On): 99 Artisti Della Collezione Marzona, Galleria Comunale d'Arte Moderna e Contemporanea, Rome, IT Collection Lambert en Avignon: Rendez - vous # 1, Rendez - vous # 2, January 12 - December 31, Hôtel de Caumont, Avignon, FR Wallpapers, Art Gallery of Nova Scotia & Nova Scotia College of Art and Design, Halifax, CA Orbis Terrarum: Ways of Worldmaking, Museum Plantin - Moretus, Antwerp, BE Drawings 2000, Barbara Gladstone Gallery, New York, US Von Edgar Degas bis Gerhard Richter / Arbeiten auf Papir aus der Graphischen Sammlung..., Kunstmusem Winterthur, Winterthur, US; Nationalgalerie Prag, CZ; Rupertinum, Salzburg, AT; Westfälischer Landesmuseum, Münste, DE; Neues Museum, Nürnberg, DE Proposals from Halifax: An Exhibition of Selected Typescripts, Flyers, Posters, Catalogues, Books, Mailers and Postcards of a Conceptual Nature Produced From 1969 to 1999 by Affiliates of the Nova Scotia College of Art and Design (NSCAD), Library and Archives - National Gallery of Canada, Ottawa, CA Stanze, Museums für Moderne Kunst / Museo d'Arte Moderna, Bozen / Bolzano, IT Tempus Fugit - Time Flies, Nelson - Atkins Museum of Art, Kansas City, Kansas, US In Process: Photographs from the 60s and 70s, Curt Marcus Gallery, New York, US Many Colored Objects Placed Side by Side to Form a Row of Many Colored Objects: Anton & Annick Herbert Collection, Casino Luxembourg - Forum d'Art Contemporain, LUBeyond Preconceptions: The Sixties Experiment, Independent Curators Inc., New York, US; traveling exhibition Hard - Pressed: 600 Years of Print and Process, International Print Center, New York, US Changing Perceptions: The Panza Collection, Guggenheim Museum, Bilbao, ES Talking Heads: Arti e Letterature nell» era della Globalizzione, Commune di Padova - Settore Attività Culturali, Padua, IT Festival de les Arts, Fundació Pro-Penedès, Barcelona, ES Editions and Multiples 1990 - 2000, Helga Maria Klosterfelde, Hamburg, DE Collection Lambert, Fundacio ProPenedès, Barcelona, ES

She was part of a contingent of invited Canadian presenters in the Creative Time Summit at the 56th Venice Biennale in 2015; and her writings and art works have appeared in numerous publications including Canadian Art; Transition Magazine; Towards an African - Canadian Art History: Art, Memory, and Resistance (all forthcoming); TOPIA: Canadian Journal of Cultural Studies; PUBLIC Journal; North: New African Canadian Writing — West Coast Line; and FRONT Magazine.

The cultural worldview scales are continuous, and should be used as continuous variables when testing study hypotheses, both to maximize statistical power and to avoid spurious findings of differences that can occur when one arbitrarily divides a larger data set into smaller parts in relation to a continuous variable.

Azzopardi, who has worked as an adolescent physician in Aboriginal communities and undertook the study as part of his PhD, said he believes the big focus on the social and cultural determinants of health «is a particular strength of this study».

These differences may be explained in part by differences in questionnaire administration methods (eg, personal interviews vs self administration), questionnaire content, target populations, or definitions and severity of the violence assessed; however, such differences may also reflect true variation and cultural differences in violence perpetration.1 4 Standardised methodologies for assessing intimate partner violence (IPV) may help to enhance the reliability of results obtained from such studies and aid in comparing prevalence rates from diverse settings.

The creation of cultural safety in our communities will be the focus of the case studies in the next part of this Chapter.