Sentences with phrase «text as historians»

thats notproof... you have to look in the text as HISTORIANS look at it... being «mythological» sounding doe snot make it legendary... second..

Not exact matches

As a document of the past, the text is at home in the hands of historians.

Blessed John Paul II's encyclical Evangelium Vitae is used as a key text, particularly as Short describes the Polish pope as the «greatest historian of abortion».

Except for that one paragraph, the Testimonium Flavianum, that most historians regard as suspect because it really does seem out of place in the text, and because Josephus was never a Christian to regard Jesus as the Messiah, and that he said that his Emperor was actually the Jewish Messiah on several occasions.

A second edition of Protestant - Catholic - Jew came out in 1960, but after that the book was not re-published until 1983, when historians began to cite the book as a descriptive text of the 1950s.

(3) Like many of our contemporaries, Schweitzer read the great Asian religious texts not as a historian only, but as one whose profound sense of the failure of Christianity led him into a genuine religious quest.

If you look back where I first (I think) explored the analogy of performance, in a piece titled «Performing the Scriptures» (first published in 1982, reprinted in a collection called Theology on the Way to Emmaus in 1986), you will see that I contrast the notion of interpretation as performance not with the historian's craft but with the supposition that a text (any text, although it is with scripture that I am most concerned)-- a set of black marks on white paper — tells you how to take it, without any interpretative labor on the reader's part, a labor for which the reader must take personal responsibility.

Hans Frei, a historian who reflected upon the history of biblical interpretation, was a theologian who called us to faith in Jesus Christ as presented in the texts, not behind the texts.

As Edwards concludes, «In general, the messages sent were not always the messages received, and the historian who seeks to reconstruct the early Reformation message and its appeal must pay at least as much attention to the context of its readers (and hearers) as to the text that they read (or had presented to them).&raquAs Edwards concludes, «In general, the messages sent were not always the messages received, and the historian who seeks to reconstruct the early Reformation message and its appeal must pay at least as much attention to the context of its readers (and hearers) as to the text that they read (or had presented to them).&raquas much attention to the context of its readers (and hearers) as to the text that they read (or had presented to them).&raquas to the text that they read (or had presented to them).»

Anthony Le Donne is a New Testament historian whose book The Wife of Jesus: Ancient Texts and Modern Scandals (Oneworld) examines the infamous Karen King manuscript as well as other historical claims that Jesus was married.

The books concerned were Augustine's on The Trinity, on God as threefold, and on The City of God, written in the early years of the fifth century when the city of man, notably Rome, was looking to be shaky, texts still of great interest to historians and theologians in the twentieth century.

Bloom, who, as he himself informs us, is neither a believer nor a historian, is convinced that he is restoring a text covered over by centuries of institutionalized misreading.

It hasn't been clear sailing all the way, mind: popular historian Stephen Marche recently took to the NEW YORK TIMES to debunk such «prophets of truthiness» — Emmerich and Orloff are but a new, high - profile strain of Oxfordians, a group who name nobleman Edward de Vere as the true author of Shakespeare's texts, even the ones dated after his death — for advancing a lunatic conspiracy theory based on little more than class snobbery.

And is it not worsening in our schools — despite the valiant efforts of the Common Core, the AP program, and others to push students to seek actual evidence in original texts rather than just saying what they think about something — as contemporary liberalism pushes them hard to embrace and amplify what historians call «presentism»?

As they work on their forthcoming titles, the co-founders, who have their own personal projects in development — Lee is working on a book about the struggles of being overly connected in the digital age (eg, texting, IM, e-mail); Love is working on her second novel, about how historians and politicians in the present day contort the history of a failed slave uprising in early 19th century Virginia — continue to experiment with what both the e-book platforms and their own website user experience will look like.

Landmark works include early editions of French writers such as the poet Clement Marot and the historian Philippe de Commynes; the first editions of major scientific texts including Christian Huyghens» Horologium oscillatorium (Paris, 1673) and Pierre de Fermat's collected works (Toulouse, 1679), among many others.

Throughout, the lively text is illuminated by photos, drawings, maps, and the beautiful photorealistic paintings of Ken Marschall, who has emerged as the disaster's visual historian.

Published on the occasion of her first exhibition at David Zwirner in fall of 2010, this beautifully designed and produced catalogue — with a text by noted curator and art historian Joachim Pissarro — features Suzan Frecon's most recent large - scale oil paintings, along with newly commissioned color photography of exhibition and studio installation views, as well as the artist's notebooks and sketches.

Taking Pierre Nora's idea of the historian as «vehicle of transmission,» Fernández attempts to weave together a dynamic account of history through a series of paintings, objects and texts that re-present the sites and the persons that passed through them.

On the occasion of facade suspended, a conversation between Yvette Mutumba (co-curator Berlin Biennial 2018 and editor - in - chief of the art magazine C &) and Pothoven will be published, as well as a text by historian and journalist Roeland Muskens (author of: On the right side, a biography of the Dutch anti-apartheidsmovement 1960 - 1990).

The catalogue includes a text by Brandon as well as contributions by Nick Robins, author of The Corporation that Changed the World: How the East India Company Shaped the Modern Multinational (Pluto Press, 2012); art historian John Seyller, a specialist in miniature painting and author of Pahari Paintings in the Jagdish and Kamla Mittal Museum of Indian Art (Hyderabad, 2014); Ayad Akhtar, winner of the Pulitzer Prize for his play Disgraced (2012); Ashley Nga - sai Wu, assistant curator at Asia Society Hong Kong Center; and Hans Ulrich Obrist, Serpentine Galleries's co-director, as well as curator and author of Ways of Curating (Farber & Farber, 2014).

The book also includes significant new texts from curator Katy Siegel and art historian Sarah Lewis, as well as a revealing interview with Bradford, offering a new understanding of the work of one of today's most influential contemporary artists.

Art historian Johanna Burton contributes a substantial essay that analyzes and elucidates all aspects of Minter's work; her text is complemented by a lengthy conversation between Minter and her friend, painter Mary Heilmann, as well as by «Twenty Questions,» a project assembled by Matthew Higgs to which a wide range of artists, curators, friends and others with a unique connection to Minter have contributed.

This fully illustrated publication features texts by curator Chus Martínez, head of the Institute of Art of the FHNW Academy of Arts and Design in Basel, Switzerland, art historian and critic Kaira Cabañas, and Gego's grandson, Daniel Crespin, as well as previously unpublished archival material.

Designed by McCall Associates in close collaboration with the artist, Drawings 2015 — 2017 features new scholarship by art historian Neil Cox and exhibition curator Francesco Stocchi, a chronology of the drawings by curator Michelle White, as well as a historical text by Albert Camus selected by Serra.

Containing many previously unpublished paintings as well as works in public collections, this monograph — the most comprehensive and best - illustrated book on Motherwell currently in print — introduces a series of texts by critics and art historians John Yau, Robert Hobbs, Matthew Collings, Donald Kuspit, Robert Mattison, Mel Gooding and Saul Ostrow.

The Sourcebook includes materials on such topics as implanted memories in mice, caves in Laos left over from the Indochina wars, new methods for listening underwater and meditations on light and darkness, plus interviews between Weerasethakul and leading art historians as well as texts drawn from his personal library.

[11]» Art Historian Robert Hughes vehemently criticized lack of painting, and the «wretched pictorial ineptitude» of the artists, dismissed the abundance of text as «useless, boring mock documentation», and mocked the focus on «exclusion and marginalization... [in] a world made bad for blacks, Latinos, gays, lesbians and women in general.

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.

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.

The catalogue features a text by historian and curator Norman Rosenthal, as well as a reprint of the classic Brothers Grimm fairy tale The Young Giant, which Rosenthal specifically chose to further expand his analysis of the relationship between fairy tales and Rauch's work.

A comprehensive publication by Ludion accompanied the exhibition with texts by renowned art historians, curators, and writers including, Jan Avgikos, Nicholas Cullinan, Jenevive Nykolak, and Nicholas Serota, as well as interviews with the artist by Lynne Cooke and His Excellency Sheikh Jassim bin Abdulaziz Al Thani.

Focusing on his recent portraiture, this volume includes an essay by art historian and curator Jane Livingston that provides an overview of Raysse's practice, as well as three texts by the artist.

By editors Lisa Crossman and Céline Browning In the spirit of Black Mountain College, this text is written in a collaborative first person, thinking of Leap Before You Look through the lens of our own experiences as an art historian and...

The couple's accomplishments - as patrons, philanthropists and political activists who lived and worked along a Paris - Houston - New York axis - is told in lively texts and remembrances by contributors such as the artist Dorothea Tanning, architect Renzo Piano, film scholar Gerald O'Grady, architectural historian Stephen Fox, curators Bertrand Davezac and Walter Hopps, and Africanist Kristina Van Dyke.

In the spirit of Black Mountain College, this text is written in a collaborative first person, thinking of Leap Before You Look through the lens of our own experiences as an art historian and practicing artist and educator.

In addition to almost 200 color reproductions, it includes a comprehensive exhibition history, bibliography and biographical chronology, as well as a text by artist Mel Bochner and an essay by art historian Briony Fer.

The exhibition is accompanied by a catalogue that includes a foreword by Tate director, Nicholas Serota, written to coincide with Newport Street's opening, as well as a text by art historian and critic, Barry Schwabsky, a re-published essay by the late writer Gordon Burn, and a 2009 conversation between Hoyland and Damien Hirst.

This fully illustrated catalogue features a text by curator and art historian Lorand Hegyi, a close friend of the artist; an essay by independent curator and historian Charles Wylie; an original text by French poet Jacques Roubaud; and a conversation between Marie - Madeleine Opalka, the artist's widow, and François Barré, a close friend, that serves as a narrative chronology.

Although Stella wasn't present that morning — he was apparently napping, and at 70, that isn't a surprise — Adam Weinberg, the director of the Whitney, did bring up a quote that explained Stella's personality in one phrase through an interview with art historian Caroline Jones, which also appears as one of the wall texts: