Sentences with phrase «war tradition makes»

The just war tradition makes theological sense as an expression of the character of communities concerned daily with justice and with loving our near and distant neighbors.

Not exact matches

It would be a good thing if the pope would acknowledge the just war tradition while making his impassioned pleas for peace.

Writing in the Journal of Religious Ethics, they make clear enough, as it used to be said, where they are coming from: «Just war theory is properly understood as an expression of a tradition in Christian political thought that can broadly be described as Augustinian.

As distinguished from people holding to pacifism or the «holy war,» people holding to the just war tradition claim to make decisions on the empirically knowable facts of the case.

The tradition has been appealed to by journalists and politicians, as if it were common knowledge, as a basis for making (or denying) the claim that the war in the Persian Gulf should go on.

What the just war tradition is really good for is that together with pacifism it can identify and denounce the less restrained views which in fact dominate public discourse and decision - making.

John Eppstein, writing The Catholic Tradition of the Law of Nations between the World Wars, argues that proportionality and last resort are to be found in the arguments of the Neoscholastics, but the texts he cites do not clearly make the case.

We live today in a culture of war, which has made it increasingly important that our religious traditions contribute to generating social change towards peace.

It was solely because of his religious conversion that he joined the political wars and made available the great Christian theological tradition to the American political debate.

But since the State tends of become the Beast that makes war on the saints (Rev. 13), i.e. to become totalitarian, it needs the checks of tradition, law and judiciary as well as opposition and revolution, to keep it a servant of justice.

Most of these guys don't get our traditions some judge them other just make fun of them lets not start any religious wars over it though.

For example, the similarity of today's collapse of traditional values to the challenge which the «front generation» of the 1920's (veterans of the trenches of World War I) made to all the traditions of state and culture that had held Europe together for so many years; or the comparison between Hitler's anti-semitism and the cynical use of racism for political purposes in the political campaigns of George Wallace and others; or the similarity between American actions in Indo - China and European imperialism in Africa at the turn - of.

So it makes sense that T'Challa wouldn't have been the first king of Wakanda to tug against its tradition of isolationism — if you remember, Civil War was kick - started by the deaths of a team of Wakandans on a «humanitarian outreach mission,» presumably at the behest of King T'Chaka.

I can't think of any dress that would make her grandparents approve of her living with her boyfriend before marriage, though I know this wouldn't be the first time this war made a young couple reject tradition.

As for the Aftermath campaign, it's a little strange since it ditches most of the innovations made in the main Judgment campaign in favour of the more tradition Gears of War flavor.

Drawing on ancient myths and symbols, he revived the Romanticism of Caspar David Friedrich and Richard Wagner, a tradition tainted by Nazism, yet which Beuys made vital again for a generation of Germans who were children in or after the war.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc TuymWar II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc TuymWar Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymwar, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

This outstanding grouping is juxtaposed with a selection of works based on the theme of creative destruction, examining the radical break with tradition made by artists such as Lucio Fontana, Yves Klein, Antoni Tàpies and the Japanese Gutai group in the aftermath of the Second World War.