I Am Not a Witch feels like a remarkable discovery: part comedy,
part social critique, part tragedy, and all bracingly original.
Not exact matches
This final
part of Griffin's argument for the process theodicy turns on an assumption that he appears to have borrowed by Hartshorne, viz., that the so - called «
social view» of omnipotence is the only alternative to the monopolistic (and thus to the standard) view.9 The
critique of the latter thus established the former as (in Griffin's words) «the only view that is coherent if one is talking about the power a being with the greatest conceivable amount of power could have over a created, i.e. an actual world» (GPE 269).
Corbyn hasn't quite adopted Marx's economics (though his recent comment that «it can not be right that in some
parts of Britain you earn more than in others» certainly tends in that direction), but his supporters undoubtedly — if unknowingly — echo Marx's
social critique.
Part of the Tawney
critique of capitalism was that some kinds of private property right divorce income from useful
social function, and that was really a point about reciprocity.
He is
part of the artist collective, Delusions of Grandeur, a group of emerging artists focused on providing
critique and commentary on
social infrastructures within American society, while contributing to the prominence of the collective black voice and presence within contemporary art.
Founded in the GDR under the auspices of the Protestant Church in Berlin - Brandenburg, the Friedenbibliothek / Antikriegsmuseum with its mobile exhibitions, subtle
critiques of the regime and
social networking was
part of a resistance movement.
Artists like John Altoon, Wallace Berman, Bruce Conner, Jay DeFeo, George Herms, and Edward Kienholz were
part of a «Beat» generation, whose
social critiques would eventually be incorporated into the counterculture and
social protest movements that shaped the second half of the 20th century.
Intelligent humor is
part of his
critique which hits at the core values of the society that he is looking at and creates a starting point for
social debate.
Though I really do like the potions of the column in the second half that provide very concise summaries of some
critiques of
Social Emotional Learning, I think the author spends the first
part inventing a controversy where there isn't one.
These trends were reflected in and influenced by lively debates within the field and
critiques from various sources, including feminism and post-modernism, that reflected in
part the cultural and political tenor of the times, and which foreshadowed the emergence (in the 1980s and 1990s) of the various «post-systems» constructivist and
social constructionist approaches.