Sentence examples for critical frames from inspiring English sources

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.

Posthumanism, the Philosophy of Sexual Difference, Feminist Epistemology, Subaltern Studies and Intersectionality, among other critical frames, offer crucial insights on how to develop emphatic approaches in the interaction with different forms of known and hypothetical entities.

For this reason, employing critical frames such as Feminist Epistemology, the Philosophy of Sexual Difference, Critical Race Theory, Postcolonial Studies, Queer Theory, Disability Studies and Intersectionality, among others, is seen as crucial in the development of posthuman epistemologies informing the technological fields.

While there are indeed defined protagonists in each film Pai in Whale Rider and Hushpuppy in Beasts their actions takes place within critical frames of place, culture and broader community.

It is, however, suggested here that critical frames used for identification of the Luneau video woodpecker as an Ivory-billed Woodpecker are also consistent with Pileated Woodpecker.

The critical frames from the Arkansas video that were used to identify the bird as an Ivory-billed Woodpecker are shown to be equally, or more, compatible with the Pileated Woodpecker.

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

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

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".

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.

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.