Nor is it the timeless and impassible divine being who is known through the mind alone, and who was the keystone of Christian apologetics in its most formative encounter of all —
with classical culture.
Not exact matches
This stream is thought by Wells to be less susceptible to «dalliances
with culture» than its contemporary cousin: «The simplest way to state this difference is to say that in
classical spirituality what is moral is central, and in postmodern spirituality it is not.»
His concern
with the social location of poverty is part of his larger effort to understand the character of Christianity as it negotiated its place in a still durable
classical culture.
Now we regard scientific technology
with the same reverence that
classical culture had for religious worldviews.
The confidence has many roots: the steady decline of models of theology in which «critical appraisal» is the dominant task; receptiveness toward and fresh engagement
with classical thinkers, patristic, medieval and Reformation; a sense that the Enlightenment is only one episode in the history of one (Western)
culture and not a turning point in the history of humankind; the work of a number of gifted and independent - minded theologians now at the height of their powers who have shown the potency of constructive doctrinal work.
Regarding
classical cultures as a dialectic of Christian theology and theoria, much work remains to be done in recovering the egalitarian and anti-imperialistic communities of reform - minded Christians, how their orthopraxis in communal experiences of repentance and inclusive wholeness envisaged an orthodoxy expressive of solidarity
with the poor and outcast.
• «The enormous progress of science and technology must be harmonised
with a
culture nourished by
classical studies according to various traditions» (56).
This allows Balthasar to disagree
with Barth's wholesale rejection of natural theology but transform this overly theologized insight into a practical claim regarding the inefficacy of modern Catholic appeal to the
classical Western metaphysical and moral tradition in today's secular
culture.
A 2,700 - year - old portico was discovered this summer on the site of the ancient city of Argilos in northern Greece, following an archaeological excavation led by Jacques Perreault, Professor at the University of Montreal's Centre of
Classical Studies and Zisis Bonias, an archaeologist
with the Hellenic Ministry of
Culture and Sports.
Classical texts such as the Yoga Sutras, Bhagavad Gita and Upanishads are utilized,
with interpretations to suit a western
culture when appropriate.
It swings between the wildly absurd and creatively inspired,
with doses of adult content, as a revered
classical culture is offset by contemporary themes.
Indeed, the book outlines the full gamut of historical periods associated
with different kinds of biopic subjects: the
classical, celebratory form (melodrama); warts - and - all (melodrama / realism); transition from producer's genre to auteur's genre; critical investigation and atomisation of the subject; parody;
culture based on consumerism and celebrity; minority appropriation (queer, feminist, African American, Third World, etc.); and neoclassical biopic, which integrates all of the above.
The book soars through time and space — ancient history, pop
culture,
classical archetypes, arcane philosophy and mediated spaces —
with grace and intensity.
Only a relative handful of charter operators nationally are attempting to deliver a
classical liberal arts curriculum amid a rigorous academic
culture, combined
with a full athletic and co-curricular program.
The
Classical Academies» personalized learning approach - coupled
with parent involvement in education - results in students who are excited to learn and creates a
culture of acceptance.
Reconnecting
with her
culture through intense study of Indian ragas (melodic modes used in Indian
classical music), Tandon created an album composed around a single eight - syllable chant that is over 6,000 years old.
Vegueta's very narrow streets are lined
with bars and
classical buildings that give you a feel of the Las Palmas
culture of old.
According to Colvin respected music artist Nitin Sawhney was a clear choice as composer: «We wanted someone
with a genuine grounding in Eastern
culture who was equally at home
with contemporary or
classical forms, as well as being completely comfortable
with the project's technological setting.
Belousova creates music videos along
with producer and director Tom Grey that put a
classical twist on pop
culture songs.
Houseago has long been fascinated
with classical and modernist sculptural techniques and references, and is well known for his ability to synthesize different time periods and
cultures into a highly distinctive sculptural language that is completely his own.
Ephemera installed throughout the exhibition by Allison Rudnick, the department's assistant curator, supplied a sense of material
culture on the home front: a group of nine chromolithographic postcards from several nations shows zeppelins looming cartoonishly over iconic landmarks, and two examples of printed cotton toiles de guerre from 1916, combining French patriotic and military motifs
with a
classical ornamental vocabulary.
This black and white video fuses
classical antiquity
with pop
culture, combining wordplay - rich poetry, mythological characters, and contemporary environments.
Reflecting a central aspect of her work; the role of the voice and the feeling of mourning or loss, resilience and survival, in the political and historical, individual and collective, Cammock wants to focus on how emotion is expressed in Italian
culture and society,
with a particular focus on opera,
classical and folk music, art, poetry, writing and dance.
Features African
culture,
Classical Antiquity and German Expressionism, along
with modern art in the Ahmanson Building.
He is most well known for his large paintings populated
with scribbled marks, calligraphic or graffiti - like words, letters, numbers, and references to
Classical culture.
Co-sponsored
with the Regione Piemonte Department of
Culture and Tourism, «Colori Tra Cielo e Terra (Colors Between Heaven and Earth): The Four Seasons and Other Vivaldi Inspirations» presents lively, colorful paintings inspired by nature and
classical music.
Replacing
classical icons
with symbols of contemporary pop
culture such as taco trucks, canned beans, and an alter ego named Spaztek, Ortiz's work maintains a tense relationship
with consumerism and his heritage.
Extending across the entirety of the museum, the exhibition allows for free association between artists and the themes they address: at once playful and dynamic, works from Ryan Gander, Institute for New Feeling, Liu Wa, and Yangzi invite audiences to explore a wealth of possibilities through combinations of meditation and wry humor;
classical mediums of sculpture and painting are reinvented by Yngve Holen and Austin Lee; insidious implications of our hi - tech society are skewered by Lawrence Abu Hamdan and aaajiao; the powers of synthetic materials over human desire are brought to the fore by Sean Raspet and Pamela Rosenkranz; and products of Internet
culture are given to refined study
with Gillian Wearing and Amalia Ulman.
Combining modernist symbolism
with coding systems and
classical reference, Saville's graphic work pervaded all aspects of visual
culture, from music and art to fashion and advertising.
John de Fazio has produced an idiosyncratic body of work that blends themes of pop
culture with classical mythologies.
His pots seem
classical, but on closer inspection they often surprise,
with their surfaces covered
with motifs ranging from politics to domestic drama, from consumer
culture to sadomasochistic sex.
His work is characterized by a meticulous, old - masterly technique and an unfashionable investment in
classical painting traditions commingling
with other representational languages drawn from popular
culture, including movies, pinups and Scandinavian pornography.
They have been cast, like Burton and Taylor, in a variety of showy roles: as painters interested in reviving aspects of the art form in its most staid and
classical modes; as Marxist or Marcuseian critics of commodity
culture and its discontents; as leering champions of youth movements and counter-
culture stylings; as strict, detached, ironic appropriationists; and, finally, as sincere and romantic poets attendant on the tragedy of age's advancing degenerations of the body and of the melancholy states of nostalgia associated primarily
with the waning of youthful beauty.
Her practice has been described as engaging in her own unique form of myth - making, one in which the interweaving of fact
with fiction opens up possibilities for another group of symbolic female characterisations, markedly different from those that appear in either
classical history or popular
culture.
The
Classical Greek
culture appears to have evolved during the breakdown of the earlier «chariot - archer aristocratic» predecessor during a period of regular contact
with the Phoenicians and perhaps other Mediterranean
cultures.
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