Jefferson never entertained the folly that he was of immigrant stock. He considered the English settlers of America courageous conquerors, much like his Saxon forebears, to whom he compared them. To Jefferson, early Americans were the contemporary carriers of the Anglo-Saxon project.
There is a strong current in contemporary culture advocating ' holistic ' views as some sort of cure-all... Reductionism implies attention to a lower level while holistic implies attention to higher level. These are intertwined in any satisfactory description: and each entails some loss relative to our cognitive preferences, as well as some gain... there is no whole system without an interconnection of its parts and there is no whole system without an environment.
The Corporate impulse for human uniformity instills shame at difference and, thus, the contemporary zeal for privacy.
I have put [the word] "discoveries" in inverted commas because scientific results, perhaps as much at least as artistic achievements, are a product of contemporary taste, driven by momentary appetites rather than eternal verities.
Can we hush the fears that so easily and frequently beset us in our contemporary world? The answer to this question is an unequivocal yes. Three basic principles are central to receiving this blessing in our lives: (1) look to Christ, (2) build upon the foundation of Christ, and (3) press forward with faith in Christ.
In high school I was drawn to the study of literature, poetry Shakespeare, contemporary fiction, drama, you name it - I read it.
I may discuss contemporary cinema, how to shop at a mall without losing energy, how to use the power of mind to increase career and academic success, the Zen of sports, reincarnation, karma, sex, the experience of "suchness" or a new book by Stephen King.
The word "Guru", as it is used in the contemporary American scene, is someone who takes all your money and tells you what to do with your life. You assume no responsibility. A lot of people want that free ride.
The defining problem of contemporary television is trust: Can you believe what you see on television, does television treat people fairly, is it healthy for society?
Contemporary audiences, other than those making a deliberate historical leap, would find, say, the 1931 'Dracula' impossibly slow.
Consider in what way the industrial system developed upon capitalist lines. Why were a few rich men put with such ease into possession of the new methods? Why was it normal and natural in their eyes and in that of contemporary society that those who produced the new wealth with the new machinery should be proletarian and dispossessed?
Part of what attracted me to the village was it had a lot of parallels to contemporary issues. Like, fear and the way fear controls us. How the governing body of a town, or a nation, controls us through fear. They might mean well by it, but we are conditioned to be afraid of things. Fear of the unknown. Fear of terrorism. And it's unfortunate.
I have always believed that there should be no subject about which one cannot make jokes, religion included. Clearly, one is always constricted by contemporary mores and trends because, after all, what one seeks above all is an appreciative audience.
Had the Bible been in clear straightforward language, had the ambiguities and contradictions been edited out, and had the language been constantly modernised to accord with contemporary taste it would almost certainly have been, or become, a work of lesser influence.
In contemporary society secular humanism has been singled out by critics and proponents alike as a position sharply distinguishable from any religious formulation. Religious fundamentalists in the United States have waged a campaign against secular humanism, claiming that it is a rival "religion" and seeking to root it out from American public life. Secular humanism is avowedly non-religious. It is a eupraxsophy (good practical wisdom), which draws its basic principles and ethical values from science, ethics, and philosophy.
Going back to the noir fiction of the 30s, 40s and 50s. It's very contemporary.
I don't even know why, but my entire career is contemporary films. Entire career! There's no period movies - there's one - but there's no period movies, no special effects movies. I just do character studies and so, some of them are gonna bump into each other, but I love the challenge, with a good script. I love the challenge of playing not a very pleasant or attractive character that seduces an audience or wins an audience over by the end.
I grew up in the theater, and you can't improvise Shakespeare and Ibsen. You have to speak the language. But obviously, in a contemporary film, there's often room for improvisation and spontaneous things that happen. As long as I know what I'm trying to achieve in the scene, and when something comes up, I know that the response is genuine, I'm comfortable. That's really how I build everything.
The musical culture in the United States has no doubt suffered severe setbacks, especially in funding, since the early 2000's. However, I've been amazed at the resiliency of those involved with contemporary music in this country. I think composers and those dedicated to contemporary music have reacted with tremendous creativity and resourcefulness.
The museum in D.C. is really a narrative museum - the nature of a people and how you represent that story. Whereas the Studio Museum is really a contemporary art museum that happens to be about the diaspora and a particular body of contemporary artists ignored by the mainstream. The Studio Museum has championed that and brought into the mainstream. So the museums are like brothers, but different.
Beauty is not the purpose of creation, it is its reward. Its appearance, often late in the day, is no more than an indication that the disrupted equilibrium between man and nature has once again been restored by art. Submitted to this test, what remains of contemporary works of art?
The abstractness of modern art has to do with how much an enlightened mind rejects of the contemporary social order.
A political philosophy (often called "political science" by practitioners who are not averse from verbal trickery) must deal with contemporary realities. If it does not, if it is charged with "ideals," it is merely a variety of romantic fiction, although it may not be recognized as such.
Above all, documentary must reflect the problems and realities of the present. It cannot regret the past; it is dangerous to prophesy the future. It can, and does, draw on the past in its use of existing heritages but it only does so to give point to a modern argument. In no sense is documentary a historical reconstruction and attempts to make it so are destined to failure. Rather it is contemporary fact and event expressed in relation to human associations.
Contemporary poetry ... tries to transform the sign back into meaning: its ideal, ultimately, would be to reach not the meaning of words, but the meaning of things themselves. This is why it clouds the language, increases as much as it can the abstractness of the concept and the arbitrariness of the sign and stretches to the limit the link between signifier and signified.
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