Sentences with phrase «subject as an historian»

In short, he pursues his subject as an historian and theologian, not chiefly as a literary archaeologist or social scientist.

Not exact matches

And as Alexis de Tocqueville observed, some of this has to do with the profound intellectual changes characteristic of a democratizing world, changes that alter both the subject matter of history and the historian's manner of approach to it.

Impelled by a need to find the roots of their form of Mormonism, leading historians of the Reorganization have embarked on an exercise in higher criticism, subjecting to close scrutiny Joseph Smith's story and Mormon scripture as well as the two official versions of church history.

Subject - object history can not adequately understand events because the I of the historian is that of the disinterested spectator while the persons whom he describes are usually treated as Its rather than as Thous.

Thus when one of his disciples, the future Cardinal, Baronius, proved incapable of preaching on any subject other than the pains of hell, Philip refused to allow him to preach on spiritual subjects at all, and made him teach Church History instead (Baronius went on to become one of the greatest Catholic historians ever, as well as a candidate for Beatification).

Of course this does not mean that the historian automatically accepts the kerygma as the correct interpretation of Jesus» meaning, for it, like any other interpretation, is subject to critical reexamination.

As one historian of nationalism puts it: «The Protestant Revolution, by disrupting the Catholic Church and subjecting the Christian community to national variations of form and substance, dissolved much of the intellectual and moral cement which had long held European peoples together.

The crucial problem is how to develop coordination and co-operation among (a) theoreticians of the systematic aspects of the general history of religions, (b) historians of religions who deal with regional cultures and specific religions, (c) historians of religions who are competent in auxiliary disciplines, as well as scholars in the related subjects.

There is no denying that philosophers such as Hocking, Radhakrishnan, and Northrop, missiologists like Kraemer, and historians like Toynbee have much to say on the subject of religions.

That Jesus died nobly or showed confidence in God are historical statements, subject to the vicissitudes of historical research, but that his death fulfilled the purpose of God in regard to «my sins» is certainly not such a statement, and it lies beyond the power of the historian even to consider it, even though, as a Christian, he might believe it.

Historians have been hard - pressed to find a mayor who, along with his administration and inner circle, was ever the subject of as many simultaneous investigations — five, at last count, conducted by as many different agencies — de Blasio now faces.

For the dabbler, for example, a historian of physics curious about his or her subject's peers in subjects such as physiology, or a scientist settling a bet over what is the middle name of Kary Mullis (Banks), these sketches will be a handy plug for small gaps in knowledge.

As I hope to convince the readers of this autobiography, I was, from my interests and abilities at school, far more destined to become a professional historian with subsidiary subject Latin.»

For almost as long as there have been recorded histories of Alexander the Great, historians have struggled to reckon their subject's evident magnanimity with his equally apparent bloodlust.

For example, with history as a focus subject it gives learners the opportunity to know and understand what it is to be an historian.

Secondly, according to environmental historians, the first campaigns to conserve natural resources and save wilderness occurred in the late nineteenth century (such as John Muir's Sierra Club to protect Yosemite in 1892), and a few people were writing on the subject before that, such as Henry Thoreau («in Wildness is the preservation of the world,» - from Walden).

In contrast to other prominent midcentury art critics — like the New York Times's John Canaday, who warned him against fraternizing with artists for fear of impairing his critical distance — Sandler purposefully immersed himself in his subjects» milieu, first in his days as a young reviewer for Artnews and later as an art historian.

With an often minimalistic approach to material composure yet a complex transformation of it as the ending result, her work has been the subject of controversy between art historians.

Arriving unaccompanied at the institution's silvered Wooster Street digs — formerly Jeffrey Deitch's HQ, as if any reminder were needed — I was immediately buttonholed by intense art historian Lorena Morales Aparicio, who filled me in on the subject of her doctoral thesis - in - progress, contemporary Swiss touchstone Pipilotti Rist.

As art historian Patrick Murphy has noted, her works can be seen as investigations, a series of corollaries between truth and fiction, video and film, subject and medium, drawing and idea, science and arAs art historian Patrick Murphy has noted, her works can be seen as investigations, a series of corollaries between truth and fiction, video and film, subject and medium, drawing and idea, science and aras investigations, a series of corollaries between truth and fiction, video and film, subject and medium, drawing and idea, science and art.

Playful in tone and less reliant upon the exploitative construct of the case - study scenario in such large scale video projects as Them, 2007, and Repetition, 2005, Artur Zmijewski's earlier videos stand in contrast to these somewhat over-determined provocations; while recent Zmijewski productions have adopted a nearly formulaic approach to positioning cultural difference and conflict, and thereby seem to codify the subject as «other» a priori — a risk that critic and art historian Hal Foster has insightfully called the «self - othering» of «the artist as ethnographer» — three earlier Zmijewski works engage a simpler, more agile approach.

As gossipy as it is reverent, Burr's proclivity for sorting, cataloguing, and cross-referencing thematic subjects comprises what critic and art historian George Baker's has succinctly described as the artist's «not - exactly - dialectical cultural pairings» of appropriated imagerAs gossipy as it is reverent, Burr's proclivity for sorting, cataloguing, and cross-referencing thematic subjects comprises what critic and art historian George Baker's has succinctly described as the artist's «not - exactly - dialectical cultural pairings» of appropriated imageras it is reverent, Burr's proclivity for sorting, cataloguing, and cross-referencing thematic subjects comprises what critic and art historian George Baker's has succinctly described as the artist's «not - exactly - dialectical cultural pairings» of appropriated imageras the artist's «not - exactly - dialectical cultural pairings» of appropriated imagery.

As much as Rauschenberg's work of the early 1950s had been championed for its elimination of painterly conventions — no subject, no image, no taste, no object, no beauty, no message — Untitled [glossy black painting] makes the case that Rauschenberg was equally radical for what he was willing to let in — chance, duration, changing context, accidents, a life in the present.18 Historians tell us about the Rauschenberg who pursued a mode of creativity that had «a life beyond its initial conception,» but it is not always possible to observe the process of accretion.19 In 1986, Untitled [glossy black painting] would appear on the cover of Arts Magazine, its identity photographically stilled.20 That was part of the history of this single canvaAs much as Rauschenberg's work of the early 1950s had been championed for its elimination of painterly conventions — no subject, no image, no taste, no object, no beauty, no message — Untitled [glossy black painting] makes the case that Rauschenberg was equally radical for what he was willing to let in — chance, duration, changing context, accidents, a life in the present.18 Historians tell us about the Rauschenberg who pursued a mode of creativity that had «a life beyond its initial conception,» but it is not always possible to observe the process of accretion.19 In 1986, Untitled [glossy black painting] would appear on the cover of Arts Magazine, its identity photographically stilled.20 That was part of the history of this single canvaas Rauschenberg's work of the early 1950s had been championed for its elimination of painterly conventions — no subject, no image, no taste, no object, no beauty, no message — Untitled [glossy black painting] makes the case that Rauschenberg was equally radical for what he was willing to let in — chance, duration, changing context, accidents, a life in the present.18 Historians tell us about the Rauschenberg who pursued a mode of creativity that had «a life beyond its initial conception,» but it is not always possible to observe the process of accretion.19 In 1986, Untitled [glossy black painting] would appear on the cover of Arts Magazine, its identity photographically stilled.20 That was part of the history of this single canvas.

Not overtly political, Barrada's work retains a sort of observational, academic cool with regard to her subjects; an attitude she cites as a result of her training as an historian at the Sorbonne.

Especially since the 1980s, a number of contemporary artists have returned to architecture as a subject, sometimes approaching it with the detached view of the historian or archivist.

As an art historian first and foremost, Crane integrates historical subject matter into some...

His painting style and subject matter, while derived from the romanticism of the time, is regarded by art historians as a significant departure from that of his peers.

As art historian Noit Banai has noted, «In this extraordinarily precarious and plural historical moment, between the war's end and the advent of Socialist Realism as official cultural policy, Andrzej Wróblewski developed a language of radical corporality in which a subject's vulnerability to divergent relations of power was given tactile form.&raquAs art historian Noit Banai has noted, «In this extraordinarily precarious and plural historical moment, between the war's end and the advent of Socialist Realism as official cultural policy, Andrzej Wróblewski developed a language of radical corporality in which a subject's vulnerability to divergent relations of power was given tactile form.&raquas official cultural policy, Andrzej Wróblewski developed a language of radical corporality in which a subject's vulnerability to divergent relations of power was given tactile form.»

Please join «YOUNG GUNS» artists, Larry Amponsah & Pablo Malik, as they converse with South African historian and independent curator Andrew Lamprecht on a myriad of subjects relating to their creative sensibilities as artists from Africa and its diaspora.

But as art historian and Andrews scholar J. Richard Gruber would caution us, despite Andrews's predilection for «realistic subject matter, he was intrigued by the fundamental issues associated with abstract art.»

Although he is classified by art historians as a Pop Artist, he differs from Andy Warhol and Roy Lichtenstein in that his subject matter has close affinities with Dada and Surrealism.

The photographer and art historian Jeff Wall has written that while many other conceptual artists «abjured, apparently for good, any involvement with the world» outside of their methodologies, Mr. Graham's aim has always been «to remain involved with the wider world as a subject and occasion for art, but to structure that involvement in the rigorously self - reflexive terms» opened up by conceptualism.

Or, in the words of art historian Felipe Scovino: «Brazil's visual arts sees the postmodern subject not as something or someone whose identity is unified and stable, but rather as something fragmented and -LSB-...] comprising multiple identities that may at times be contradictory or unresolved.»

The twenty - plus bodies of work spanning more than forty years featured in this show will provide an unrivaled opportunity to consider Welling's vision of the aesthetic and expressive possibilities of photography, as well as its multimedia entanglements — subjects the artist discusses in a lively conversation with art historian Hal Foster published in the accompanying catalogue.

The art historian Mignon Nixon has written on the subject of the part - object and its influence on Bourgeois's work: «Klein contends that the subject first relates to its environment as a field of objects (called part - objects) to be fused or fragmented, possessed or destroyed, by means of phantasies of introjection, projection and splitting that are themselves produced by the drives.»

Although «magic realism» is a term today more commonly associated with the 20th - century literature of Latin America, it was first coined in 1925 by the German art historian and critic Franz Roh to describe an emerging style of modern realist paintings with fantasy or dreamlike subjects, and is often seen as parallel to or overlapping with the New Objectivity movement.

In this vein, the Tate show, curated by renowned art historians T. J. Clark and Anne Wagner, seek to reposition Lowry as an artist whose urban scenes recast his contemporaries» sense of the modern — in part through their working - class subject matter but also because of their coupling of realist and Impressionist traits.

These things have seemed hypothetical, the output of Judd's huge brain, his training as an art historian with two of the subject's great names, Rudolf Wittkower and Meyer Schapiro.

As an historian of Chinese art, I find it hard to know just how to respond to Ad Reinhardt's essays on the subject.

Organized by the Wexner Center for the Arts at The Ohio State University, Elliott Hundley: The Bacchae will be accompanied by an ambitious book with new essays by Wexner Chief Curator Christopher Bedford, poet Anne Carson, noted art historian Richard Meyer, and Doug Harvey, artist, writer, critic, curator, and educator, addressing subjects including Hundley's development over the last decade, his engagement with filmic traditions, Greek tragedy as his most consistent inspiration, and the intricacies of his working process.

In 2004, as they correctly point out, Harvard science historian Naomi Oreskes published an essay in Science magazine in which she examined the abstracts of 928 articles on the subject of «global climate change» published in scientific journals between 1993 and 2003, and «found that 75 % supported the view that human activities are responsible for most of the observed warming over the previous 50 years while none directly dissented.»

Anchored by a comprehensive introduction exploring the main themes of the legal history of the region, a group of distinguished historians from have contributed 11 substantive essays (three in French), on subjects as varied as women in court, grand juries, western law and aboriginal peoples, gun use and control, Quebec legal literature, married women's property, and imprisonment for debt — The Osgoode Society and the University of Toronto Press