46 Sentences With "problematize" | Random Sentence Generator

It is a very difficult accomplishment to problematize frontality in this way.

In this work, I am trying to problematize that still-current documentary and representational model.

Auther also noted that Minter's involvements in commercial campaigns will likely always problematize the narrative around her.

I don't think it makes sense to problematize a behavior that functions almost exactly like those things.

Attempts to problematize that marriage — to open it up and show whom it excludes — are reliably met with fear and resistance.

"Powerful art is when artists are able to problematize things in a way that gets you to reflect on them differently," Foley told me.

He made countless etchings that both glamorize and problematize American industriousness, depicting builders in cavernous subway construction sites, longshoremen on bustling docks, or miners operating deep within combustible underground shafts.

I also took a shine to Vojkan Morar's chimerical painting "Angel Portrait" (2014) and Igor Simonovic's gnarly "Self-Portrait" (2013) because they have similar overall visionary qualities that problematize fore, middle, and background.

It is one of whiteness's operations to understand everything as self-referential, yet this is not necessarily a play aiming to educate white people, but, rather, one intended to problematize collective living in the shadow of America's original sin, chattel slavery.

"Knowing that it is a controversial proposal to move the murals to the new airport what we tried to do was not only focus on this proposal, but really complicate or problematize the question of how you preserve modern cultural patrimony," said Ballesteros.

We felt like the narrative that what happened in '67 as a riot has been the thing that people know, and it has been the thing that spread across the country, and we wanted to problematize that to an extent, and offer another perspective.

" The purpose of that particular paper, the three architects of the hoax wrote in Areo, was "to see if journals will publish papers that seek to problematize heterosexual men's attraction to women and will accept very shoddy qualitative methodology and ideologically-motivated interpretations which support this.

Mandeville's work is full of paradox and is meant, at least partially, to problematize what he saw as the naive philosophy of human progress and inherent virtue.

In doing so Silverberg stressed how "process, ability and disability come to construct and problematize both individual and collective human identity for the past, present, and future".:143 Silverberg employed similar techniques in Dying Inside.

There are successes and failures in using CBPR approaches in teaching which practitioners can consider. Others have argued that community based work can provide several learning benefits with pros and cons to the various approaches. Scholars continue to problematize approaches that can engage instructors and students in imagining ways to work with communities.

The "Meta Paintings" take liberties with color, scale, value range and composition, for example, using vantage point to impose diagonals on the flat horizontal and vertical harmonies of a Mondrian to problematize its absolutist purity of form, or obscuring Velázquez or Rembrandt images under layers of varnish that flatten them into dark, inky rectangles in gilded frames.Wainwright, Lisa. Catalog essay. David Klamen: Painting Paintings, Chicago: Richard Gray Gallery, 2010.

Interventions in museums were first employed by artists like Marcel Duchamp, who were looking to challenge both established elite art traditions and the expectations of museum visitors. By the late 20th century, interventions had become a methodology used not only by artists, but also by other groups – including activists, museum visitors, and even museums themselves – as a way to democratize exhibitions, challenge dominant narratives, problematize the provenance of museum objects, and so on.

For some authors, Mulvey does not consider the black female spectators who choose not to identify with white womanhood and who would not take on the phallocentric gaze of desire and possession. Thus, Mulvey fails to consider that these women create a critical space outside of the active/male passive/female dichotomy. Feminist critic Gaylyn Studlar wrote extensively to problematize Mulvey's central thesis that the spectator is male and derives visual pleasure from a dominant and controlling perspective.

Scholars frequently decry Hürnen Seyfrid's artistic deficiencies: the plot has many inconsistencies and the verse is of low quality. The poem appears to have been haphazzardly put together from various parts. The poem does not problematize any of Siegfried's actions and has a deeply Christian background in which Siegfried represents good and the giants and dragons represent evil. Despite these modern complaints, the poem was very popular and the longest lasting representative of the heroic tradition in Germany.

Ranging from collaborative documentaries to video art, Cowie's work interrogates the relations of power and domination in contemporary society, and seeks to problematize the ways in which meaning and consent are constructed through the media. Cowie's videotapes often use the techniques of documentary, off-air appropriation, and short form sound and text collage. Currently a video producer and a professor teaching media theory and production, Cowie has been drawn toward media literacy as an activist and pedagogical tool.

It praised the film for its exciting story, for illustrating how Norway was part of the Cold War and how unimportant a single human is in superpower politics. It commented that Michelet was a political author, which allowed him to problematize political issues which were not acceptable for public debate. It also agreed with Harris' choice to remove all flashbacks. Dagbladet commented that the film downplayed the left-wing political aspect of the book and instead focused on the storyline and action.

Rabindranath Tagore was a pioneering modern playwright who wrote plays noted for their exploration and questioning of nationalism, identity, spiritualism and material greed.Banham (1998, 1051). His plays are written in Bengali and include Chitra (Chitrangada, 1892), The King of the Dark Chamber (Raja, 1910), The Post Office (Dakghar, 1913), and Red Oleander (Raktakarabi, 1924). Girish Karnad is a noted playwright, who has written a number of plays that use history and mythology, to critique and problematize ideas and ideals that are of contemporary relevance.

Franz Boas was the first anthropologist to problematize the notion of culture. Challenging the modern hegemony of culture, Boas introduced the idea of cultural relativism (understanding culture in its context). Drawing on his extensive fieldwork in the northwestern United States and British Columbia, Boas discusses culture separate from physical environment, biology, and most importantly discarded evolutionary models that represent civilization as a progressive entity following chronological development. Moreover, cultural boundaries, according to Boas, are not barriers to intermixing and should not be seen as obstacle to multiculturalism.

In 2008, director Mark Hartley released Not Quite Hollywood: The Wild, Untold Story of Ozploitation!, a documentary film celebrating the romps of the Australian New Wave of 1970s and 1980s low-budget cinema and includes George Miller, Quentin Tarantino and Barry Humphries. Media theorist, Theodore Scheckles, argues that the post-1970 period of Australian cinema attempted to “revise the traditional Australian hero and problematize that revision” asserting the best films of this era will be viewed “as films, not as pieces of Australiana”. at Antipodes, June 1998.

The 20th century saw a remarkable expansion and evolution of critical theory, following on earlier Marxist Theory efforts to locate individuals within larger structural frameworks of ideology and action. Antihumanists such as Louis Althusser, Michel Foucault and structuralists such as Roland Barthes challenged the possibilities of individual agency and the coherence of the notion of the 'individual' itself. This was on the basis that personal identity was, in the most part, a social construction. As critical theory developed in the later 20th century, post-structuralism sought to problematize human relationships to knowledge and 'objective' reality.

Design intent from the male perspective is a main issue deterring accurate female representation. Females active in participatory culture are at a disadvantage because the content they are viewing is not designed with their participation in mind. Instead of producing male biased content, "feminist interaction design should seek to bring about political emancipation… it should also force designers to question their own position to assert what an "improved society" is and how to achieve it". The current interactions and interfaces of participatory culture fails to "challenge the hegemonic dominance, legitimacy and appropriateness of positivist epistemologies; theorize from the margins; and problematize gender".

Previously used as a metaphor for theatricality, performance is now often employed as a heuristic principle to understand human behaviour. The assumption is that all human practices are 'performed', so that any action at whatever moment or location can be seen as a public presentation of the self. This methodological approach entered the social sciences and humanities in the 1990s but is rooted in the 1940s and 1950s. Underlying the performative turn was the need to conceptualize how human practices relate to their contexts in a way that went beyond the traditional sociological methods that did not problematize representation.

In the study of Christianity by anthropologists, the ANT has been employed in a variety of ways of understanding how humans interact with non-human actors. Some have been critical of the field of Anthropology of Religion in its tendency to presume that God is not a social actor. The ANT is used to problematize the role of God, as a non-human actor, and speak of how He affects religious practice. Others have used the ANT to speak of the structures and placements of religious buildings, especially in cross-cultural contexts, which can see architecture as agents making God's presence tangible.

When the sun is in its zenith over the northern hemisphere (our summer) the equatorial band moves northward, as do all the others. The reverse happens in our winter. The Winds of the Globe also made significant progress towards empirically verifying the current theoretical association of the effect of air pressure on the direction of winds, as well as precisifying the previously poorly quantified relationship between pressure gradients and wind velocity. Contrarily, it served to problematize Hadley's contemporaneous theory about the movement of the upper atmosphere, and the effect of gravity on the shape of convection cells.

In the early 1980s, students of color at Harvard Law School organized protests in various forms to problematize the lack of racial diversity in the curriculum, as well as among students and faculty. These students supported Professor Derrick Bell, who left Harvard Law in 1980 to become the dean at University of Oregon School of Law. During his time at Harvard, Bell had developed new courses which studied American law through a racial lens that students of color wanted faculty of color to teach in his absence. However, the university, ignoring student requests, hired two white civil rights attorneys instead.

Or is it an independent discipline? Danish and Hale (1981) contended that many clinical psychologists were using medical models of psychology to problematize sport problems as signs of mental illness instead of drawing upon the empirical knowledge base generated by sport psychology researchers, which in many cases indicated that sport problems were not signs of mental illness. Danish and Hale proposed that a human development model be used to structure research and applied practice. Heyman (1982) urged tolerance for multiple models (educative, motivational, developmental) of research and practice, while Dishman (1983) countered that the field needed to develop unique sport psychology models, instead of borrowing from educational and clinical psychology.

It can be concluded that Kuhn's idea of incommensurability, despite its various reformulations, manages to seriously problematize both the idea of accumulation of a neutral language as well as of the very idea of a neutral language, without falling into irrationalism nor stating that the common reference level is irrelevant. An idea that differentiates him from Feyerabend who states in books such as Problems of Empiricism and Against Method that if the new theory deviates into new areas, this is not a problem of the theory, as often the conceptual progress leads to the disappearance and not to the refutation or resolution of the old questions.

16% of study participants were not provided with information on options of having no treatment, and some were provided with misinformation about the nature of their treatment, and information about peer support was also lacking. OII Europe reports: Rationales for medical intervention frequently focus on parental distress, or problematize future gender identity and sexuality, and subjective judgements are made about the acceptability of risk of future gender dysphoria. Medical professionals have traditionally considered the worst outcomes after genital reconstruction in infancy to occur when the person develops a gender identity discordant with the sex assigned as an infant. Human rights institutions question such approaches as being "informed by redundant social constructs around gender and biology".

The end of the Cold War and the re-evaluation of traditional IR theory during the 1990s opened up a space for gendering International Relations. Because feminist IR is linked broadly to the critical project in IR, by and large most feminist scholarship have sought to problematize the politics of knowledge construction within the discipline – often by adopting methodologies of deconstructivism associated with postmodernism/poststructuralism. However, the growing influence of feminist and women-centric approaches within the international policy communities (for example at the World Bank and the United Nations) is more reflective of the liberal feminist emphasis on equality of opportunity for women. Prominent scholars include Carol Cohn, Cynthia Enloe, Sara Ruddick, and J. Ann Tickner.

Sen’s conceptual practice with a varied set of surfaces, materials, and processes that emerge in the wake of her regular negotiations with her milieu. Her work often deals with the complexities of the body in its physical, basal, erotic and sexless forms. A lot of her works deal with the self as a matrix of identities and myths – questioning societal norms, fixed beliefs, and categorisations. Sen's material art work, which she calls “byproducts” of her larger process, contrast scale, imagery and genre to problematize existing notions of hospitality, sexuality, communication, and contract. Known for her often erotically and emotionally charged imagery, Sen’s work blurs the line between distance and intimacy, often explored through what she calls “radical hospitality”.

The story fits Bergman's motif of "warring women", seen earlier in The Silence and later in Cries and Whispers and Autumn Sonata. According to Professor Marilyn Johns Blackwell, Elisabet's resistance to speaking can be interpreted as resistance to her gender role. By depicting this tension as experienced primarily by women, Bergman may be said to "problematize the position of woman as other"; the role society assigns women is "essentially foreign to their subjecthood". Blackwell wrote that the attraction between Elisabet and Alma and the absence of male sexuality cohere with their identification with each other, creating a doubling that reveals the "multiple, shifting, self-contradictory identity" (a notion of identity that undermines male ideology).

During the ceremony, coyote spirits appeared and exposed the killer by carrying off one of the tribe members through the window of the gymnasium. The tribe members later found his body abandoned at Angry Butte with bite marks on his body. The coyotes not only identified the criminal, but they also sought justice. According to Roland Walter who wrote “Pan-American (Re)Visions: Magical Realism and Amerindian Cultures in Susan Power's The Grass Dancer, Gioconda Belli' s La Mujer Habitada, Linda Hogan's Power , and Mario Vargas Llosa's El Hablador,” “Magical realism realizes the hybridization of the natural and the supernatural by focusing on specific histori- cal moments in order to problematize present-day disjunctive reali- ties” (Walter 66).

Bernard de Mandeville's The Fable of the Bees (1714) became a centre-point of controversy regarding trade, morality, and social ethics. Mandeville argued that wastefulness, lust, pride, and all the other "private" vices were good for the society at large, for each led the individual to employ others, to spend freely, and to free capital to flow through the economy. Mandeville's work is full of paradox and is meant, at least partially, to problematize what he saw as the naive philosophy of human progress and inherent virtue. However, Mandeville's arguments, initially an attack on graft of the War of the Spanish Succession, would be quoted often by economists who wished to strip morality away from questions of trade.

The Butlerian model presents a queer perspective on gender performance and explores the possible intersection between socially constructed gender roles and compulsory heterosexuality. This model diverges from the hegemonic analytical framework of gender that many claim is heteronormative, contending with the ways in which queer actors problematize the traditional construction of gender. Butler adapts the psychoanalytical term of melancholia to conceptualize homoerotic subtext as it exists in western literature and especially the relationship between women writers, their gender, and their sexuality. Melancholia deals with mourning, but for homosexual couples it is not just mourning the death of the relationship, instead it is the societal disavowal of the relationship itself and the ability to mourn, thus leading to repression of these feelings.

Cantu et al. take up the issue of the relationship of homosexuals to immigration policies and nationalist discourse in his essay, “Well Founded Fear, Political Asylum and the Boundaries of Sexual Identity in the US-Mexico Borderlands.” In particular, Cantu discusses the complex performance of sexuality, gender and race expected from gay asylum seekers, thus reinforcing the conventional notions of gender and sexuality in a transnational crossroad that facilitates movement of commodities, cultures and people. He discusses how the US asylum system and nationalist discourse problematize the transnational intersections of race, gender and sexuality because,“The asylum system was generating new, essentializing constructions of sexuality that functioned within strictly nationalist logics, thereby re-inscribing borders that globalization had blurred” (301).

The series Time Regained (2005-2008) was announced as an assumed exploration of the self. The human body remained a framework of the artistic works but this time Florica Prevenda staged her own body—deconstructed, broken up, understood as a phantomatic construct connected not only to experiences but also to dreams, expectations, frustrations, wishes. The series Serenity (2009-2010) is the only one in which the artist does not destroy the body but presents it as a total through the outline of the body of a generic child, a beautiful form that is nevertheless empty like a blank page on which life experiences are going to be registered. Facebook Obsession (2011-2015), Ephemeral/Condensation(2015-2016) and Anonymous (2017-2018) are series that problematize the success of the networks of socialization as well as the need for communication and self-representation of contemporary human beings.

Later Marxists such as Gramsci would problematize this notion of ideology or false consciousness by studying the ways that workers operate during periods of “organic crisis,” or those times when social classes become detached from their traditional parties and a violent overthrow of the ruling classes is possible. Seeking to describe the ways that governments regain control of these classes during such periods of unrest, Gramsci developed the idea of hegemony, a process by which social actors within the ruling classes convince subordinate classes to consent to their own oppression once again: > The traditional ruling class, which has numerous trained cadres, changes men > and programmes and, with greater speed than is achieved by the subordinate > classes, reabsorbs the control that was slipping from its grasp. Perhaps it > may take sacrifices, and expose itself to an uncertain future by demagogic > promises; but it retains power, reinforces it for the time being, and uses > it to crush its adversary and disperse his leading cadres. (210-11)Gramsci, > Antonio.

"Hena Maes-Jelinek, Bénédicte Ledent (eds), Theatre of the Arts - Wilson Harris and the Caribbean; Editions Rodopi B.V. Amsterdam, New York (2002); Andrew Jefferson–Miles, Quantum Value in Wilson Harris's "architecture of the tides"; "In quantum fiction, the whole cosmos is involved, and that cosmos will leave its trace, its spontaneous quantum of knowing and recognizing, on even the smallest, shortest-lived thing (p. 181). In the dissertation Quantum Value in Wilson Harris's "Architecture of the Tides, Andrew Jefferson–Miles states: "In quantum fiction, the whole cosmos is involved, and that cosmos will leave its trace, its spontaneous quantum of knowing and recognizing, on even the smallest, shortest-lived thing." In the volume Redefining the Critical Enterprise in Twenty-First Century Hispanic Literature (Hybrid 2012), Spanish author Jorge Carrión writes: "My books attempt to problematize these supposed units of meaning, because perhaps we are in a time of quantum fiction. I repeat: “quantum fiction.” This is a concept I have been working on for a very short time. It is a new concept, like “counter-space” or “theoryphobia” were in their time.

Several scholars have noted difficulty in attempting to delimit the scope, meaning, and applications of language ideology. Linguistic anthropologist Paul Kroskrity describes language ideology as a “cluster concept, consisting of a number of converging dimensions” with several “partially overlapping but analytically distinguishable layers of significance,” and cites that in the existing scholarship on language ideology “there is no particular unity . . . no core literature, and a range of definitions.” One of the broadest definitions is offered by Alan Rumsey, who describes language ideologies as “shared bodies of commonsense notions about the nature of language in the world.” This definition is seen by Kroskrity as unsatisfactory, however, because “it fails to problematize language ideological variation and therefore promotes an overly homogeneous view of language ideologies within a cultural group.” Emphasizing the role of speakers’ awareness in influencing language structure, Michael Silverstein defines linguistic ideologies as “sets of beliefs about language articulated by users as a rationalization or justification of perceived language structure and use.”Silverstein, M. (1979). Language Structure and Linguistic Ideology.

Rollins' unpublished PhD (His Colour is Our Blood: A Phenomenology of the Prodigal Father) offers a survey of religious thinking in the aftermath of Marx, Freud, and Nietzsche. It engages directly with Martin Heidegger's critique of onto-theology and explores the religious significance of Jacques Derrida's post-structural theory and Jean-Luc Marion's saturated phenomenology (drawing out the points of connection and conflict between them). This manuscript represents Rollins' initial attempt to articulate an approach to faith that would short-circuit the categories of theism and atheism and problematize the various debates that arise from them. In so doing this marks an approach to Christianity that is not related to a system of belief but rather to a particular mode of life. His first book, How (Not) to Speak of God (2006) popularized the main themes of his PhD by blending the apophatic work of Meister EckhartRollins, Peter How (Not) to Speak of God (Paraclete Press, 2006), pp18-19 and pseudo-DionysiusRollins, Peter How (Not) to Speak of God (Paraclete Press, 2006), pp26-29 with the Post-structural work of DerridaRollins, Peter How (Not) to Speak of God (Paraclete Press, 2006), pp45-46 and Marion.

With a spirit of experimentation, Yi In-seong has consistently challenged the narrative grammar of realism and conventional assumptions regarding the relationship between the author, the text, and the reader. Into the Unfamiliar Time (Natseon sigan sogeuro, 1983), Yi In-seong's first novel, tells the familiar story of a young man's wanderings, but employs narrative techniques designed to defamiliarize the depicted reality, such as blending of tenses, fusion of fantasy and reality, and overlapping of time sequences. “The Tomb of the Years Past” (Geu seworui mudeom, 1987) and “Now He is in Front of Me” (Jigeum geuga nae apeseo) also employ some of these techniques to give shape to the inner consciousness of his characters. What Yi In-seong seeks to problematize is the perceived stability of the dichotomy between the performer and the spectator, the writer and the reader of the text, and ultimately the self and the other. In “About You” (Dangsine daehaeseo) and “My Statement for Your Interrogation” (Dangsinui simmune daehan naui jagi jinsul), the author plays with various personal pronouns in order to deconstruct the stability of separate identities. Through such experiments, Lee Inseong attempts to heighten readers’ consciousness and engage them more actively in the act of reading.