Sentences with phrase «twentieth century cultural»

His art is grounded in both the philosophy of twentieth century cultural theorists.

Not exact matches

The history of Italian unification» Italian fascism having more than a decade's existence as a special place in radicalism; the role of the papacy in severely constraining manifest forms of statist rule; the cultural tradition of Italian major cities, which had autonomous forms of city development; and the weaknesses of Italy with respect to economic concentrations of power in the early twentieth century» all argue against a muscular totalitarianism.

The important essay entitled «Jewish Intellectuals and the De-Christianization of American Culture in the Twentieth Century» holds that the old Protestant cultural hegemony was defeated in no small part by the growing number of Jews championing «a secular vision of American culture» in the «American academic and literary intelligentsia» and in the best and most influential universities.

Late - twentieth - century theological schools in North America, however, exhibit the strain of trying to appropriate two quite different models of excellent schooling, both of which are by this time traditional in our cultural setting.

They found initial expression in the late nineteenth and early twentieth centuries among Brahmin intellectuals who were disillusioned with British rule and sought a more traditionalist basis for political and cultural identity.

It would not be too farfetched or inaccurate to say that Darwinism in its deeper and persistent effects, as these became manifest in science and industry of the nineteenth and twentieth centuries, and, through them, in other cultural disciplines and activities, contributed to, if in fact it did not create, a new ethos in Western society, dedicated to the task of dealing with the immediacies of existence in their practical aspect.

Cultural differences block the communication between the traditional and the contemporary; or, the church is still emotionally related to the nineteenth - century conditions while the world is involved in the explorations and tensions of the twentieth century.

And if anyone is afraid that he is in for some kind of esoteric rigmarole, may I try to alleviate his fears by remarking that the lecturers are all children of the twentieth century as much as they are professing Christians, alive to the astounding advances of contemporary science and technology, alive also to the deep — seated moral and cultural skepticism which has developed side by side with an increasing moral passion and sensitivity.

Just as the cultural transformation we are experiencing in the last part of the twentieth century is extremely complex, the period of the Protestant reformation was a complex time of changes for Christianity.

It has been reckoned that, in addition to the 87 million lives taken in the wars of this century, an additional 80 million were deliberately killed or starved to death in Hitler's death camps, Stalin's labor camps, Mao's cultural revolution and the «killing - fields» of Cambodia.2 So much for the advanced civilization of the twentieth century.

The story of Phyllis Schlafly, as Critchlow, a professor of history at St. Louis University, tells it, is a story of conservatism operating far from centers of political and cultural power but crucial to the most important domestic political event of the second half of the twentieth century: the ascendancy and triumph of the once - moribund American right.

One might suggest that the cultural revolution declared at the beginning of the twentieth century was delayed by the distraction of crises — from World War I («the Great War») through the end of the Cold War in 1989.

For like Whitehead and Dewey, Kadushin understood that the concept of organic thinking offered an approach to logic and the foundations of knowledge that was an alternative to the perversions of the sort of blind faith in natural science that had come to dominate the intellectual cultures of the late nineteenth and early twentieth centuries; an alternative that did not attempt to devalue science or replace it with a nonrational mysticism, but which did attempt to place scientific thought into a broader cultural context in which other forms of cultural expression such as religious and legal reasoning could play important and non-subservient roles.

By juxtaposing the concerns of Dawson and Eliot to the cultural criticism of the Frankfurt School and other social critics like Neil Postman, one can begin to see an emerging critique of the forms of modernity during the first half of the twentieth century.

Many who have come to accept history in this sense trace their conversion, first, to a breakdown of natural structure that began with Charles Darwin, was magnified by quantum physics, and is still unfolding in the philosophies of the sciences; and, second, to a breakdown of cultural structure that began with Friederich Nietzsche in Europe and William James in America, was magnified by the chaos and brutality of twentieth century politics and warfare, and is still unfolding in postmodern studies.

In the early twentieth century Protestants are mistaking dynamic cultural forms for the content of their faith.

saw them as simply leftovers from the past, opposing twentieth - century cultural trends only because they were so deeply committed to nineteenth - century outlooks and mores.

In the latter part of the twentieth century we have come to prize cultural diversity.

The revolution was to mount until in the twentieth century every people, tribe, and nation was profoundly altered and the whole human race was ushered into a world which in time dimensions was rapidly shrinking and which was displaying common cultural features.

Kenward's rehearsal of life in twentieth - century France is a compendium of ideologies, lists of leading political and social leaders, an endless speculation on the nature of Frenchness, and a nearly complete absence of the cultural effects of the nation's Catholic inheritance.

Yet, it was that decade of renewed family idealism and uncritical patriotism that was discontinuous with twentieth - century cultural history.

After publishing Postwar in 2005, a tour de force of European history since World War II, winning the Arthur Ross Book Award for best book in international affairs and numerous other awards, Tony Judt prepared to write an ambitious intellectual and cultural history of Twentieth Century social thought.

Written with the help of a friend and Yale historian Timothy Snyder, the book is a dialogue between the two men on the story Judt hoped to tell in his planned book — the intellectual and cultural history of the Twentieth Century.

In the second part of the book, Macmillan provides an overview of the cultural and ideological context of the early twentieth century — in particular, those ideas that made war appear to many a feasible, if not desirable, option.

The book is ordered in three parts; the first explaining the diplomatic alignment of Europe during the years preceding the outbreak of war; the second focusing the prevailing cultural and ideological milieu in the early years of the twentieth century; and the third detailing the successive crises in the years immediately preceding the outbreak of war.

European missionaries to southern Africa during the nineteenth and twentieth centuries played a strangely ambiguous role in the history and affairs of the Mormon missionaries have become so much of a cultural joke that there is a Broadway musical about them.

Here I converse with cultural and intellectual histories of the late - twentieth - century U.S., proposing that childhood, parenthood, and neighborhood afford a bottom - up view of how markets, multiculturalism, and meritocracy developed side - by - side in America's urban schoolhouses.

The first and definitive biography of the celebrated collectors Dominique and John de Menil, who became one of the greatest cultural forces of the twentieth century through groundbreaking exhibits of art, artistic scholarship, the creation of innovative galleries and museums, and work with civil rights.

- Yan Lianke, author of Postsocialism and Cultural Politics: China in the Last Decade of the Twentieth Century

Your group may want to compare some of the cultural assumptions of women in the early twentieth century with present - day expectations.

Aby M. Warburg (1866 — 1929) is recognized not only as one of the century's preeminent art and Renaissance historians but also as a founder of twentieth - century methods in iconology and cultural studies in general.

One of the foremost American figurative painters of the twentieth century, Neel is known for her portraits of family, friends, and neighbors as well as the writers, poets, and other cultural and political figures she encountered in a career spanning the 1920s to the 1980s.

This utopian experiment came to an end in 1957, but not before it created the conditions for some of the twentieth century's most fertile ideas, having an enormous impact on American postwar cultural life.

Shaw mines his imagery from the cultural refuse of the twentieth century, using comic books, record covers, conspiracy magazines, and obscure religious iconography to produce a portrait of the nation's subconscious.

2000 Bob Thompson and Jan Muller, Lori Bookstein Fine Art, New York, NY African - American Art: 20th Century Masterworks, VII, Michael Rosenfeld Gallery, New York, NY; Appleton Museum of Art, Florida State University and Central Florida Community College, Ocala, FL Michael Rosenfeld Gallery: The First Decade, Michael Rosenfeld Gallery, New York, NY The Figure, Another Side of Modernism, Newhouse Center for Contemporary Art at Snug Harbor Cultural Center, Staten Island, NY Twentieth - Century American Art: The Ebsworth Collection, National Gallery of Art, Washington DC; Seattle Art Museum, Seattle, WA Search for the Unicorn, Lori Bookstein Fine Art, New York, NY

A specialist in nineteenth - and twentieth - century American painting and cultural history, he received his PhD at the University of North Carolina at Chapel Hill.

She was recently awarded a MacArthur Fellowship for restoring «to the representation of the human form a cultural significance that had waned during the ascendancy of abstraction in the twentieth century.»

Contemporary Chinese Photography and the Cultural Revolution, Staatliche Mussen zu Berlin, Berlin, Germany (2017); The Exhibition Go Annual Contemporary Art in China, Beijing Minsheng Art Museum (2016); Silk Road International, Art Museum of Nanjing University of Arts, Nanjing, China (2016); New Capital: Huang Yu Collection Exhibition, Museum of Contemporary Art, Chengdu, China (2016); Guns and Roses, Kunstraum, Potsdam c / o Waschhaus, Germany (2016); Links — Locality and Nomadism, The Galaxy Museum of Contemporary Art, Chongqing, China (2015 - 2016); Beyond the Earth — The First Xi'an Contemporary Photography Exhibition, Xi'an Art Museum, Xi'an, Shaanxi Province, China (2015); Chinese Photography: Twentieth Century and Beyond, Three Shadows Photography Art Centre, Beijing, China (2015); Unfamiliar Asia: The Second Beijing Photo Biennial, CAFA Art Museum, Beijing, China (2015); China 8: Contemporary Art from China on the Rhine and Ruhr, Folkwang Museum, Essen, Germany (2015); 2nd Three Shadows Experimental Image Open Exhibition, Three Shadows Photography Art Centre, Beijing China (2015); and Pull Left — Not Always Right,» Urban Arts Space, Ohio State University, Columbus, OH (2014), Hillstrom Museum of Art, Saint Peter, MN (2014); and Unboundedness, China Cultural Center, Berlin, Germany (2013 - 2014).

One of the foremost American figurative painters of the twentieth century, Neel is known for her portraits of family, friends, neighbors, and locals as well as writers, poets, and other cultural and political figures.

We Are Not Things borrows strategies from this early - twentieth - century fervor around machines and mechanization against the backdrop of a pervasive contemporary cultural narrative: the feminization of the future.

Her wide - ranging interests in American art and visual culture are reflected in the breadth of her publications, including Benton, Pollock, and the Politics of Modernism: From Regionalism to Abstract Expressionism (1991, which received the Charles C. Eldredge Prize), Spirit Poles and Flying Pigs: Public Art and Cultural Democracy in American Communities (1995), Elvis Culture: Fans, Faith, and Image (1999), Looking at Life Magazine (editor, 2001), Twentieth - Century American Art (2002), The Emotional Life of Contemporary Public Memorials: Towards a Theory of Temporary Memorials (2008), Memorial Mania: Public Feeling in America (2010), and American Art of the 20th - 21st Centuries (2017).

Consisting of sixteen large - scale silver, black, and white flags encircling Collins Park, the flags further Pendleton's «Black Dada» project, a long - term exploration pairing two previously unrelated concepts: Dada, the early twentieth - century absurdist cultural movement, and the notion of «black» as an open - ended signifier.

This fully illustrated book examines this cultural phenomenon as a key moment in twentieth - century art history which transcended regional and racial boundaries.

With much of the work in «The Order of Things» focusing on the individual and cultural identity, the exhibition also includes a large selection devoted to vernacular photography from the late - nineteenth and early twentieth century — offering a glimpse into the day - to - day life of a time that we will never know.

The dominating role of men in these fields, combined with the social and cultural conditions of the early twentieth century, precipitated a domestic design that was gendered masculine — and heterosexual.

Shaw mines his imagery from the cultural refuse of the twentieth century, using...

While shelves of books have been written about Pop art, The Pop Revolution is the first to approach it not only as an aesthetic upheaval, but also as a bellwether for the social, cultural, economic and political changes affecting America and Europe in the late twentieth century.

Through paintings, sculptures, photography and decorative arts, Visions of US explores evolving ideas about American cultural identity from the eighteenth through the twentieth centuries to tell a rich and inclusive story about how we imagine and represent the United States.

The selected portraits include cultural and political figures admired by Neel, among them playwright, actor, and author Alice Childress; the sociologist Horace R. Cayton, Jr., whose 1945 Black Metropolis: A Study of Negro Life in a Northern City is among the key academic studies of the African American urban experience in the early twentieth century; the community activist and cultural advocate Mercedes Arroyo; and the academic Harold Cruse, known for known for his widely - published academic book The Crisis of the Negro Intellectual (1967) and for teaching at LeRoi Jones's Black Arts Repertory Theatre / School in Harlem.

At the beginning of the twentieth century, the Hammer Museum found itself at a crossroads: the contemporary art center, housed in a building by Edward Larabee Barnes, suffered from anonymity both in its local environment and within the cultural context of Los Angeles.