Sentences with phrase «such by historians»

«That much may indeed be true, but it was one of many of the tall tales that further evolved into a truism of sorts, that was basically «accepted» as such by historians, press and mafia history aficionados,» Cipollini said.

Not exact matches

Roberts cites an observation by labour historian Jan Kainer: «Women's labour organizing contributed significantly to the building and sustaining of rank - and - file participation, developing new democratic structures such as women's caucuses, organizing the unorganized, and forging political alliances with non-labour groups.»

Increased recognition of the accomplishments of the Middle Ages (including the birth of engineering, social benefits such as universities, hospitals and the beginnings of corporations and labor guilds, as well as science, (all under the Catholic Church) has led to the label being restricted in application or avoided by serious historians.

The first Christians were never systematically persecuted by the Romans, and most martyrdom stories - with the exception of a handful such as Perpetua's - were exaggerated and invented, several scholars and historians say.

This program gives Wilson many opponents: anti-functionalists among theorists and historians of religion (it's no accident that among theorists of religion Wilson chooses arch-functionalist Émile Durkheim as his hero); evolutionary theorists who don't think that such theory is usefully applicable to social groups; those who think it is applicable to social groups, but conclude that religious groups are maladaptive; and theological realists, who think the whole enterprise vitiated by its procedural naturalism.

To traffic in such guilt by association between Arendt and the Cold War is ludicrous; it is forgivable in journalistic rhetoric but hardly from a respected historian such as Wasserstein.

These latter are easily recognised by accolades such as «the revered historian...» (p. 21); «the distinguished...» (pp. 63, 139, 174) or «the prolific...» (p. 139).

Perhaps the lyrics apply to the last one, if we equate land - hunger with the desire for «gold,» but political history accounts of why «such - and - such a President or Congress eventually entered us into such - and - such a war» reveal time and again that a motivation of economic interest was not the reason, and seldom even the second or third reason, offered or discussed (even in the secret discussions hence uncovered by historians).

The process by which this happened - by which concepts such as personal freedom, human rights and equality have been slowly distorted to mean something quite other than they did when Christian Europe gave birth to them - has been laboriously traced by historians of ideas such as Charles Taylor and Alastair Maclntyre.

Again, what Miola calls «a simplistic notion of religious identity» in a muddled age may itself be called simplistic, in view of the formidable arguments brought forward by such «revisionist» historians as Eamon Duffy, who show that traditional Catholicism was strong in the hearts of the people till well on into Elizabeth's reign.

A historian, to be sure, must feel some diffidence in offering such confident, perhaps judgmental assertions about a project that must be carried out by others — by theologians.

Such a beginning for a student of history is not unnatural, but if ever that boy is to become a real historian — as well may be the case — little by little the consciousness of what is excluded by his study will grow dim.

Such an account is inevitably conditioned by the historian's scale of values and by his fundamental convictions about human nature.

If by this one means that we can know very little about Jesus of Nazareth by means of the scientific methods of the historian, so that a modern biography of him is hardly possible, such a viewpoint need not trouble the believer, although it could be a topic of legitimate discussion among historians.

He has, however, a complex and sophisticated notion of what it means to say that an event in history «happened» and how such events are verified by historians.

That Jesus was a real person is established by ones such as Tacitus (born about 55 C.E.), considered one of the world's greatest historians.

This understanding has been challenged more recently, however, by such credible figures as Phillip E. Johnson of the University of California, and William B. Provine, an historian of science from Cornell.

Also potent was the mounting tide of secularism, reenforced by intellectuals, such as the Jew Georg Morris Cohen Brandes (1842 - 1906), literary critic and historian, who were out of line with the Christian tradition.

However, ancient historians such as Josephus, who delighted in listing Herod's crimes, do not mention what would have been Herod's greatest crime by far.

By necessity a historian of religions must concentrate on one or two of the auxiliary disciplines and also on special fields, such as primitive religion, antiquity, Middle Ages, modern period, or any one of the major religious systems.

Karl Barth understood this well when he wrote: «Strange as it may seem, it is still true, that those who fail to understand other churches than their own are not the people who care intensely about theology, but the theological dilettantes, eclectics, and historians of all sorts; while those very men who have found themselves forced to confront a clear, thoroughgoing, logical sic et non find themselves allied to each other in spite of all contradictions, by an underlying fellowship and understanding, even in the cause which they handle so differently and approach from such painfully different angles.

At 8:18 am on Tuesday 23 February 2010, a week before Cardinal Murphy - O'Connor debated the virtues of a Catholic England, something happened that may well come to be seen by such historians as an epiphany moment, revealing with telling clarity the contemporary British Church's propensity to get unwillingly sucked into an agenda profoundly at variance with our own.

Kimball brings to our attention such paintings as Courbet's The Quarry, Sargent's The Daughters of Edward Darley Boit, Rubens» Drunken Silenus, Homer's The Gulf Stream, and others, and examines the interpretations of them offered, or rather perpetrated, by some leading art historians, such as David Lubin of Wake Forest University and Albert Boime of the University of California at Los Angeles.

Revisionist historians also can't blame CJF for things out of his control, such as injuries sustained by his QB's.

Such civic - minded uses for the buildings hearken back to the first field houses, built in the early 1900s under the direction of parks Supt. Frank J. Foster.Foster was inspired by Chicago's first settlement house — large buildings where immigrants could go for shelter and social services — when he ordered the construction of the first 10 field houses, which opened in 1905, said Park District historian Julia Bachrach.

By adding knowledge bases — which know the gender, age and place of birth of myriad people — historians would be able to track more in - depth questions, such as the popularity of female singers over time, for example.

Historians differ on whether Captain Bligh was truly such a monster or Christian such a paragon of virtue (some believe that the mutiny was largely inspired by Christian's lust for the Tahitian girls).

Organized in Paris, the statement was signed by notables ranging from South African Bishop Desmond Tutu to foreign actors such as Gerard Depardieu and Anthony Hopkins to Americans like opera diva Jessye Norman and actress Lauren Bacall to, unforgivably, U.S. historian Arthur Schlesinger Jr..

The audio commentaries by some film historians are a bit on the dry side - one would expect for such fans of Japanese monster movies to be a bit more jovial.

Historians Behlmer and Hurst rightly cite the studio's dominance in pioneering and perfecting the swashbuckling epic, and though Twentieth Century - Fox» own efforts were quite admirable, there's no substitute for an Errol Flynn actioner; particularly when supported by such an outstanding cast of character actors.

She demonstrates her ignorance by showing such disrespect and outright contempt for the woman who is widely regarded as the preeminent education analyst and historian alive today.

In a Closing Keynote address to some 500 attendees, education historian and NYU professor Diane Ravitch, an NPE founder and Board President, accused current education policies mandated by the federal government, such as President Barack Obama's Race to the Top, of making high - stakes standardized testing «the purpose of education, rather than a measure of education.»

Since 1999, Lissa has publicized New York Times bestsellers such as Jenny McCarthy's Belly Laughs, Tony Iommi's Iron Man, and Cami Walker's 29 Gifts as well as groundbreaking and award - winning works by pediatrician Dr. T. Berry Brazelton, breast - cancer researcher Dr. Susan Love, environmental activist Sandra Steingraber, and historians Harlow Giles Unger and Thomas Fleming.

Discovery Tour will offer dozens of guided tours curated by historians and Egyptologists, each with a focus on a different aspect of Ptolemaic Egypt, such as the Great Pyramids, mummification or the life of Cleopatra.

Then in the face of these facts, accepted by artists at least, she concludes: «Of course, no serious contemporary art historian ever takes such obvious fairy tales at their face value.»

And in between (literally), at Kai Matsumiya, is a kind of palette cleanser in the display of Rainer Ganahl's wonderfully random photographs of art world lectures being given by such luminaries as the art historian Linda Nochlin and the performance artist Andrea Fraser.

Both of these acclaimed retrospectives have been appropriated by institutions and art historians for curatorial concepts, such as for the eponymous show From Surface to Space on Malevich at the Staatliche Kunsthalle Baden - Baden in 2008.

It is only through such interventions by artists like Williams and Garcia Torres, who directly intervene in the retelling of history in unpredictable ways, that we might be able to account for what the art historian Thomas Crow has called «the fierce reticence of an artist's work.»

The works of Willem Weismann are inspired by a wide range of sources from comic books, video games and cinema to ideas by historians such as Hayden White (US, 1928).

Today's art historians were brought up on literature by female authors championing their gender's creativity, such as Linda Nochlin, Rosalind Krauss and Griselda Pollock.

Guest curated by UMass Art History Assistant Professor Karen Kurczynski September 15 — November 20, 2016 Opening Reception: September 14, 6 — 8 p.m. Organized by NSU Art Museum Fort Lauderdale and guest - curated by UMass Amherst assistant professor Karen Kurczynski, a leading scholar of Danish Cobra artist Asger Jorn (1914 — 1973), who represents a new generation of art historians specializing in Cobra, the exhibition presents the history of Cobra through paintings, sculpture, prints, and primary documents by artists such as Asger Jorn, Pierre Alechinsky, Karel Appel, Constant, and Corneille.

Occasionally, there were some U.S. periodicals available, such as ARTNews and Artforum, as well as interpretative writings by national critics and art historians.

Exposure to these works — with which many Chinese artists might be familiar only in reproduction or online — is seen by Tinari as a means of fostering creative dialogue between the two artistic traditions and diminishing the «time - lag» that hindered domestic art for so long after the Reform and Opening Up period that followed Mao's death in 1976, traditionally taken as the «starting point» of contemporary Chinese art (Tinari concedes that this is a useful marker, but suggests that a new generation of art historians should «complicate» such simplified narratives).

Featuring new scholarship by art historian Richard Shiff, the book's stunning visual elements are contextualized by such archival materials as Judd's preparatory drawings, as well as an interview with the artist conducted in 1989 by Jochen Poetter.

Edited by Paula Feldman and Karsten Schubert, It Is What It Is includes texts by some of the most influential art historians and critics of today, such as Donald Judd, Dore Ashton, Rosalind Krauss, Lawrence Alloway, Germano Celant, Holland Cotter.

Highlights include a talk from historian Oliver Green on the legacy of Frank Pick — the man responsible for commissioning some of the most recognisable icons of London Underground's identity, a postcard design workshop inspired by the famous London Underground logo, nostalgic heritage bus rides through the Depot's scenic surrounding area and interactive displays and activities for all ages, such as a signalling demonstration area, where you can watch the operation of the vintage frames.

Designed as a turn - around book with two front covers, one for each of the venues of this two - part exhibition, this catalogue includes a number of contributions by Rauch's long - time colleagues, including fellow artists Michaël Borremans, Hartwig Ebersbach, Jonathan Meese, and Luc Tuymans; art critics and historians, such as Rudij Bergmann and Werner Hofmann; and museum directors, such as Markus Brüderlin, Robert Fleck, and Klaus Werner.

The nearly 400 - page anthology unites an unprecedented community of art historians, curators, and artists, with essays by the show's two curators, as well as texts by contributors such as Connie Butler, chief curator at the Hammer Museum, Carmen María Jaramillo, Karen Cordero Reiman, Miguel Loópez, Mónica Mayer, and Carla Stellweg.

By anthologizing essays, documents, and interviews by leading critics, historians, and artists on issues of site - specificity, conceptualism, feminism, and architecture practice, Surface Tension reveals the connections between cultural production and the very spaces in which such work functionBy anthologizing essays, documents, and interviews by leading critics, historians, and artists on issues of site - specificity, conceptualism, feminism, and architecture practice, Surface Tension reveals the connections between cultural production and the very spaces in which such work functionby leading critics, historians, and artists on issues of site - specificity, conceptualism, feminism, and architecture practice, Surface Tension reveals the connections between cultural production and the very spaces in which such work functions.

One of the foremost is Ruiz - Healy Art, founded in 2004 by Mexican - born art historian Patricia Ruiz - Healy, representing established Texas and Latin American artists working in a variety of media, such as Chuck Ramirez, Jesse Amado, and Graciela Iturbide.