Sentences with phrase «with classical sources»

[17] Twombly's move to Gaeta in Southern Italy in 1957 gave him closer contact with classical sources.

Not exact matches

But, as with other classical figures Eke Luther and Calvin, Wesley reveals another side which is illustrated in his dealing with problems of chronology, his understanding of the biblical use of non-biblical sources, his judging of much of the Psalms as «unfit for Christian lips,» and so on.

One place to see easily the variety of theological norms coming into play is in Wesley's Plain Account of Christian Perfection, perhaps both the key text for those who wished to sustain continuity with the spiritual experience of classical Wesleyanism and a source of much controversy with outsiders who found the key doctrine of the Wesleyan tradition offensive.

The best example is the long - enduring and highly stable classical Chinese civilization, where the Sages» writings, which were the source books for instruction, dealt for the most part and in great detail with the behavior appropriate to various persons, positions, and situations.

Furthermore, if we consider the teachings of «original» Buddhism to be identical with the nucleus of the older sources of the Himayana scriptures, then we must immediately admit that these teachings, as well as the whole «religion of Buddha,» underwent a marked change in their later development; and we can readily understand how, from the standpoint of the «classical ideal» this development might be viewed as nothing but deprivation and decline.

I have learned that many of the classical sources I was taught to rely on so heavily, from Augustine to Tillich, sound very different when they are read with women's questions in mind.

The Judeo - Christian idea of a transcendent source of all value is consonant with these classical insights.

The serious Freudians, with their talk of penis envy and father - fixation, certainly seemed far off the point; in any case, the women of my own acquaintance who had undergone classical psychoanalysis were more obtuse about the sources of their own conduct and feelings than any other women I knew.

Even though biblical religion has always understood God as the source of novelty («Behold, I make all things new»), classical theologies have predominantly associated God with cosmic order and have failed to consider in any depth the connection between God and novelty.

Kazan's screenplay thus draws upon a classical source and modernizes it with a present - day understanding of the biggest challenge to any relationship: figuring out the difference between wants and needs, and accommodating them to the best extent possible, with the goal of reaching a mutually satisfying balance.

What attracted critical minds like Jacques Rivette, Eric Rohmer, and others to Nicholas Ray and his oeuvre — bored stiff as they were by the risk - averse, respectable, and ultimately neutered «cinema of quality» — was the stamp of the personal and the element of danger they discerned in his films, whether that meant the improvisatory handling of actors with a touch deft enough to coax remarkable performances out of even non-professionals; the «superior clumsiness,» cited by Rivette in «Notes on a Revolution,» resulting in «a discontinuous, abrupt technique that refuses the conventions of classical editing and continuity»; or the purely visual flourishes Ray relished — ranging from the sweeping, vertiginous helicopter - mounted shots in They Live By Night to disorienting, subjective POV compositions like the «rolling camera» during a car crash halfway through On Dangerous Ground, its very title indicating the source of Ray's critical appeal.

By interspersing his monumental collages with carefully placed sculptural groupings, Hundley creates immersive environments that restage and animate the classical texts that are his sources.

Fusing archival material, readings from classical sources and newly shot footage, Akomfrah's piece focuses on the disorder and cruelty of the whaling industry and juxtaposes it with scenes of many generations of migrants making epic crossings of the ocean for a better life.

Recently on view as part of Okwui Enwezor's All the World's Futures exhibition at the 56th Venice Biennale, the artwork unites newly shot footage from remote locations on the Isle of Skye, the Faroe Islands and the Northern regions of Norway with archival material and readings from classical sources.

Stemming from various sources of inspirations including classical Italian art as well as African graffiti and Japanese decorative arts, the exhibition contained the playfulness of Arte Povera with Calzolari's unique and personal artistic pursuits that often times challenge the movement's standards.

But Tucker's observation that «the freedom with which these artists mix classical and popular art - historical sources, kitsch and traditional images, archetypal and personal fantasies, constitutes a rejection of the concept of progress» was prescient.

His later work also draws from classical sources, as in his Venus de Milo sculptures, infusing his art with the influence of the past.

The Award - Winning portrait artist has developed a distinctive technique which draws influences from a multitude of sources, and her appreciation of a refined technique invokes classical portraiture but with a resolutely modern viewpoint.

John Currin's work is obviously inspired by a wide range of classical influences, with sources as diverse as the Renaissance, Post - Impresionism and Pop art.