The primary question here is not really whether truth is dead—but why the question only arises when someone challenges the elite’s particular control of it.
Your guide to understanding and evaluating how William Paul Young identifies theological problems and proposes solutions, not just in ‘The Shack’ but also the rest of his work.
The show’s dark humor and violence evoke a bedtime story told by your strange, Tim-Burton-loving uncle.
Are creators entitled to the fruits of their hard work, imagination, and creativity? The cultural left for which Richard Prince is the poster boy says no.
Humanity in ‘The Expanse’ is at a crossroads, and how they approach the hand dealt to them will determine their near future. It’s the same for us.
No one should be surprised that postmodern America chose an antihero to be our next president.
In a recent short, Jimmy Kimmel argues that truth is an objective fact that exists independently from the whims of human opinion.
Women and minorities cannot understand logic or objective truths, says a graduate student in her dissertation, so science classes should stop using the scientific method.
The contradiction between Superman’s words and actions in ‘All-Star Superman’ invites readers to consider the tension between relativism and protecting a community’s safety and happiness.
The entire stable of thinkers who crafted the cosmic architecture that has spawned feminism, LGBT thought, Occupy Wall Street, and Black Lives Matter? They’re dead white men.
Rather than rejecting his Western tradition, Umberto Eco embraced it, and saw himself as contributing to it.
In “The Devil’s Pleasure Palace,” Michael Walsh explains how renewing the heroic tradition in Western art can rescue our culture from the dehumanizing horrors of postmodernism.
The first wave of political correctness laid the blueprint for the insidious cultural relativism of contemporary P.C.
If you want to know why philosophers have fallen into disrepute, look at the wave of campus turmoil spreading out from Yale and Mizzou.
‘Fight Song’ is not a song, but the idea of a song. It’s because postmodern art rejects truth.
Escaping the pink police state requires us to set aside fears that we cannot change and once again speak with each other, face to face.
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