Sentences with phrase «apocalyptic visions in»

Occasionally the artist embeds hints of apocalyptic visions in the numerical data and imagery his drawings depict.

Altizer goes on in History as Apocalypse (1985) to interpret Blake's final apocalyptic vision in Jerusalem 96 that God, who is love, dies precisely in order that the human being, who is love, may be fully actualized.

Not exact matches

These theological visions come from many sources, including: apocalyptic books of the Bible from Daniel to Revelation; a nineteenth - century viewpoint on the end of times known as dispensational premillennialism; and images of the so - called «rapture» popularized in novels such as Hal Lindsey's The Late Great Planet Earth (1970) and the more recent Left Behind series.

Christianity lives in the tension between its apocalyptic vision of life and its creational mandate to occupy.

And the reason for this is simple: Jesus was not less than the Jewish Messiah, or than the apocalyptic «Son of Man» seen in visions and dreams by his worshipers; (Rev. 1 - 13; Acts 7:56; etc.) he was — and is — in fact far more.

As Altizer phrases it, only in the dialectical vision can we «be open to the actuality of our dark emptiness as a sign of the light of the apocalyptic Christ.»

Apocalyptic recognizes the tragic in history, utilizing it as the tinder upon which an alternative vision must be built that can not rely upon history for its realization.

No doubt the total vision promised by an apocalyptic form of faith is not yet present upon our historical horizon; for, immersed as we are in a fully profane consciousness, we would seem to have lost the very possibility of apocalyptic vision.

Inevitably, the orthodox expressions of Christianity abandoned an eschatological ground, and no doubt the radical Christian's recovery of an apocalyptic faith and vision was in part occasioned by his own estrangement from the dominant and established forms of the Christian tradition.

This vision arises in the context of a new and apocalyptic understanding of the «Mystery» of the Godhead.

If we allow Blake's apocalyptic vision to stand witness to a radical Christian faith, there are at least seven points from within this perspective at which we can discern the uniqueness of Christianity: (1) a realization of the centrality of the fall and of the totality of fallenness throughout the cosmos; (2) the fall in this sense can not be known as a negative or finally illusory reality, for it is a process or movement that is absolutely real while yet being paradoxically identical with the process of redemption; and this because (3) faith, in its Christian expression, must finally know the cosmos as a kenotic and historical process of the Godhead's becoming incarnate in the concrete contingency of time and space; (4) insofar as this kenotic process becomes consummated in death, Christianity must celebrate death as the path to regeneration; (5) so likewise the ultimate salvation that will be effected by the triumph of the Kingdom of God can take place only through a final cosmic reversal; (6) nevertheless, the future Eschaton that is promised by Christianity is not a repetition of the primordial beginning, but is a new and final paradise in which God will have become all in all; and (7) faith, in this apocalyptic sense, knows that God's Kingdom is already dawning, that it is present in the words and person of Jesus, and that only Jesus is the «Universal Humanity,» the final coming together of God and man.

Apocalyptic literature follows the pattern of a vision in which the author receives a call to write, and then describes, with highly cryptic imagery, a series of symbolic events which predict the overthrow of evil and the triumph of righteousness.

The ancient apocalyptic story thus shows a real tension in its narrative vision.

Both early Christian apocalyptic and Zealot apocalyptic drew on the openness of this form of world - vision to the new, to make possible a meaningful participation of the believer in the «big story» to which he found that he was contributing as it moved forward to its end.

Thus the apocalyptic story, with its vision of an all - encompassing end, tends to shift the new from being a surprise in the plot to being a final cessation of new occurrence at all.

Some attention to the story form in apocalyptic can show us some of the reasons why the narrative form is in trouble, while process theology has some fundamentally useful hints about how we may re-imagine the story, or grasp a new narrative vision of the world, which will enable us to set the new into a meaningful framework and respond to it with hope.

Ancient apocalyptic represented a crisis in which it was a question whether the narrative vision could survive, and now, in the world of imaginative writing, it is equally or even more questionable whether narrative vision can survive.

They said she confided in them three secrets - foretelling apocalyptic visions of hell, war, communism and the death of a pope - and urged them to pray for peace and a conversion away from sin.

The modern crisis of narrative vision has much in common with the apocalyptic crisis.

Pentacostalism in Black Africa, emphasizing personal faith, biblical literalism, visions, prophecy, and apocalyptic visions of extrahistorical justice, may be inspired to send missionaries to the white, affluent, «pagans» of the North.

The socialist vision of a classless, stateless society is also in the tradition of the apocalyptic vision of the prophets of Judaism.

Jesus's Messianic consciousness was probably influenced by the apocalyptic Book of Enoch, in which the form, but not the person, of the servant has pre-existence, and by the events of the end which may have led Jesus to step out of the concealment of the «quiver» and imagine himself, after the vision of Daniel, as in his own person the one who will be removed and afterwards sent again to the office of fulfillment.

As a reform movement within Judaism, the communal praxis of inclusive wholeness and the Basileia vision of Jesus both transformed apocalyptic messianism and led those he converted into a paschal - metanoetic egalitarian discipleship wherein faith in his resurrection would open the Covenant of God to the «lowly» of all nations.

Nothing so clearly unveils Hegel's system as an apocalyptic system as does this ending, but such an ultimate ending is unique to apocalypticism, for even if it parallels archaic visions of eternal return, it wholly differs from all primordial vision in knowing an absolute and final ending, an ending which is apocalypse itself.

In these recent years when Christians have again had to go through «dungeon, fire, and sword» for their faith, the meaning of this apocalyptic (or vision) literature has come alive to many.

It is to be remembered that at this time New Testament scholarship had little if any awareness of the apocalyptic ground of the New Testament, the transformation of New Testament scholarship entailed by this realization did not occur until the end of the nineteenth century, but already the original apocalyptic ground of Jesus and of primitive Christianity was profoundly recovered and renewed in the radically new imaginative vision of Blake, just as it was in the radically new philosophical thinking of Hegel.

Apocalyptic preserved the faith and made it still articulate in the vision of time and history interrupted and transformed by the decisive invasion of Yahweh himself.

As Israel moved through the violence and terror of the years approaching the birth of Jesus the hope for a Davidic King and a perfected state yielded to the vision of an apocalyptic shattering of this world in the final clash of God's power with the power of Satan.

Jesus» teaching is eschatological» in outlook, but it is not necessarily «apocalyptic»; that is, it did not take for granted the visions, dreams, chronological calculations and symbols, the vast array of angelic and other supernatural figures, or the mechanical and deterministic schemes of history which were characteristic of the apocalyptists.

That vision of an inimical god had been cryptically presented nearly a century earlier in the apocalyptic poetry of William Blake in his Jerusalem (1804):

7:13 f. there is an account of the appearance in the apocalyptic vision of one «like unto a son of man.»

Note that the mighty events recorded in the New Testament are often given musical settings, as in the Christmas stories and in the apocalyptic visions of the Revelation of John.

On balance we can say that in choosing the way of the prophets Jesus was more comfortable with visions of the future that pictured the direct rule of God (the kingdom of God), or the gift of that rule to an apocalyptic Human One, than with the vision of a kingdom ruled by an earthly king of David's line.

In The Descent Into Hell, Altizer states: «Accordingly, visions of a new apocalyptic compassion must inevitably appear in the form of madness or chaos to all those who can still find life or hope in an individual center of consciousness.&raquIn The Descent Into Hell, Altizer states: «Accordingly, visions of a new apocalyptic compassion must inevitably appear in the form of madness or chaos to all those who can still find life or hope in an individual center of consciousness.&raquin the form of madness or chaos to all those who can still find life or hope in an individual center of consciousness.&raquin an individual center of consciousness.»

If the intuitive vision itself contradicts other intuitive visions, after all the clarifications and siftings of dialogue have been run through, I do not know where to turn but to acknowledge diversity in the ultimate decisions whose apocalyptic force gives content to religion.

This was also the principle of the Brothers of Waldo (at Lyons) and of those heretical movements — Joachimites, Brothers of the Poor Life, etc. — which preached true evangelical communism, practiced absolute nonviolence, and declared that apocalyptic visions had revealed that the «poor and pure religious orders will bring in the mystical government of the world.»

Since the 1890s New Testament scholars have been rediscovering the importance of apocalyptic literature among Jews and Christians in the ancient world, represented in the books referred to as Apocalypses, which offer visions, revelations of the future, and other divine mysteries.

Although I would no longer want to characterize the difference between Altizer and me as that between Christian and Pharisee, I can not share his apocalyptic quest for «Totality,» even though our visions of God and the world share many elements in common.

The other scriptural text in which Mary emerges as the Mother of the Church is the apocalyptic vision of Revelation 12.

In exactly the same way the Christian apocalyptic seer uses a vision of white - robed figures «before the throne and before the lamb» (Rev. 7) to assure the persecuted Christians that their suffering will not go unrewarded.

It is to be remembered that Christianity began with an apocalyptic proclamation of the end of history, one which dominated the earliest Christian communities, and one which was renewed at each of the great crises or turning points of Christian history, just as it was renewed in each of our great modern political revolutions, and equally if not more deeply renewed in the advent of our deepest modern thinking and imaginative vision.

If, in the post-modern world, a congregation or whatever wants to be «relevant,» its assemblies must be unabashedly events of shared apocalyptic vision.

Strange as it may appear, though, our Christian clerics, principally the apocalyptic or doomsday prophesiers, it also turns out, do not receive divinely inspired visions that attempt to provide practical answers to drug discoveries in fighting our progressively escalating disease burden, and for better or for worse pragmatic solutions that should otherwise help us reverse our mournful state of relative technological, scientific and industrial backwardness.

No, I've decided that the reverse is true; I absorb apocalyptic visions as counterbalance to a fundamentally optimistic personal / political faith in humanity's capacity to find a better way to live.

What sounds like an apocalyptic vision of the future for the world's tropical corals is in fact a chilling assessment of the current state of reefs built in cooler waters by oysters and other bivalve shellfish.

Apocalyptic visions, which are not the heart of either of these fine books but which both writers indulge in on occasion, are also unlikely to persuade skeptics.

Soderbergh assembled an impressive ensemble to execute his apocalyptic vision, an A-list cast featuring a quartet of Academy Award - winners in Matt Damon, Kate Winslet, Marion Cotillard and Gwyneth Paltrow, as well as a trio of Oscar - nominees in Jude Law, Laurence Fishburne and Elliott Gould.

Even in Take Shelter, his more fantastically themed thriller about a man with apocalyptic visions, his style was closer to Terrence Malick than anyone else.

Take Shelter (R for profanity) Paranoia drama about a working - class family man (Michael Shannon) plagued by apocalyptic visions who finds himself struggling with whether or not to have his wife (Jessica Chastain) and daughter (Tova Stewart) hide in a backyard bunker he's built as protection from the conflagration he believes is imminent.

He plays Curtis, a husband and father who works in construction and finds himself plagued by visions of an apocalyptic storm.