Sentence examples for critical frame from inspiring English sources

The "critical frame of mind...after having destroyed the moral authority of so many institutions, in the end turns against its own".

In order to induce a critical frame of mind in the spectator, Brecht considered it necessary to dispense with the empathetic involvement with the stage that the illusionary theatre sought to induce.

But by not seriously taking on the concept of opportunity, Rep. Ryan's "Expanding Opportunity in America" too easily conflates essential concepts and slips back into conventional thinking around issues that require a more critical frame of mind.

The results show that the DBDI seismic assessment procedure can be used to quantify the damage potential at different performance levels and relate that to local flexural ductility of critical frame members.

As a Strauss enthusiast, I have often struggled to find the right critical frame for the extraordinary works that the composer wrote in the wake of the humiliation of 1935: the mythological operas "Daphne" and "Die Liebe der Danae," the eighteenth-century conversation piece "Capriccio," the "Metamorphosen" for strings.

Even arguing from within the confines of Schumpeter's own ideas, centrally planned socialism today is far more inimical to the critical frame of mind that is the multinational.But this is hard on a man who died in 1950, and the essence of whose theory was first adumbrated 25 years before that.

The minute visitors enter, "We immediately confront the fascination with the critical framing that counteracts that fascination," says Volker Dahm, the centre's director.

Now I find myself at the other pole of my ambivalence, affirming the work's aesthetic excellence and historical importance, for what that's worth, in an argument about the proper physical disposition and critical framing of "Thérèse Dreaming".

It must, he said, "either must present work of historical importance with new critical frames that encourage audiences to think in new ways, or offer them the newest work of artists interested in being relevant.

To be progressive, Mr. Collins said, a contemporary museum must "offer audiences alternative ways of thinking and direct experiences that pattern new ways of behavior". It must, he said, "either must present work of historical importance with new critical frames that encourage audiences to think in new ways, or offer them the newest work of artists interested in being relevant.

He focuses on the work and persona of German painter Gerhard Richter, demonstrating how reflecting on Richter's work provides rich insights into the practices and stylization of what, following Aby Warburg, one might call "the afterlife of the modern". Rabinow opens with analyses of Richter's recent Birkenau exhibit: both the artwork and its critical framing.