Sentences with phrase «christian idea of man»

The Christian idea of man can be stated in the form of five paradoxes, each uniting an apparent contradiction.

Not exact matches

As a former Christian, I find the idea of one man standing before a congregation several times a week, explaining his beliefs (understanding of the bible?)

'' I have no idea what Bell is trying to prove; but the lost of income» — it doesn't make a lot of sense for a man of no faith to teach at; Christian schools... «his wife» — not related, read the story... «and potentially his home» - once again, related to his jobs at Christian schools.

Thus the Commission called for a Christian concern for Higher Education which helps critical rational and humanist evaluation of both the western and Indian cultures to build a new cultural concept which subordinated religious traditions, technology and politics to personal values according to the principle «Sabbath is made for man and not man for the Sabbath», enunciated by Jesus and illustrated in the idea of Incarnation of God in Christ.

Nevertheless, the Christian faith in immortality has an important connection with the idea of man's dignity and worth, for according to the Christian outlook every human soul has a value great enough to be appropriately thought imperishable.

Jaeger holds that this model»... can be pursued through the Middle Ages; and from the Renaissance the line leads straight back to the Christian humanism of the fathers of the fourth century A.D. and to their idea of man's dignity and of his reformation and rebirth through the Spirit.»

The crude superstition of man's prayer as a means of instructing God or altering his intention was overpassed and praying became both congruous with the Christian idea of God and effectively powerful in spiritual result — «Abba, Father, all things are possible unto thee; remove this cup from me: howbeit not what I will, but what thou wilt.»

That the Christian idea of God (reputedly drawn after the pattern of the man who suffered under Pontius Pilate, was crucified, dead and buried) has all too often been recast in the shape of human dreams of power and glory is a fact of ecclesiastical history which it would be hypocritical to pretend were otherwise.

So early Christians paid the price for not swearing allegiance to another man; so why would modern christians swear allegiance to an idea, government, or a piece of cloth that isn't eChristians paid the price for not swearing allegiance to another man; so why would modern christians swear allegiance to an idea, government, or a piece of cloth that isn't echristians swear allegiance to an idea, government, or a piece of cloth that isn't even alive?

I was at a Christian Men's group meeting recently and I tried to use the idea of Karma and Yin / Yang to draw a parallel to the role of light and darkness in the prologue in John's Gospel.

In its ideological foundations political democracy is derived both from the Stoic conception of a natural law of human equality and the Christian idea of the worth and dignity of all men in the sight of God.

The Christian ideas of God as loving father and the oneness of all men under him have an effect on one's life only if they become essential ingredients in one's convictions, at the nucleus of one's being, about the meaning of existence.

The Christian heroism (and perhaps it is rarely to be seen) is to venture wholly to be oneself, as an individual man, this definite individual man, alone before the face of God, alone in this tremendous exertion and this tremendous responsibility; but it is not Christian heroism to be humbugged by the pure idea of humanity or to play the game of marveling at world - history.

St. Thomas Aquinas was also a «double - man», in that while he accepted and sought to develop a Christian interpretation of Aristotelian ideas in which Aristotle's «unmoved mover» was given priority over the relational view of God, at the same time in his own sermons, prayers, and occasionally throughout his writings there is the stress on exactly that relational view.

In some theological ideas, the ocean of good works comes from great men and women of the past, either the Israelite forefathers or the Christian saints, whereas in common «Evangelical» theology, the source of good works is Jesus Himself.

Either we must accept the idea that Christianity, to some degree, seems to align itself with such violence or we must assume that hundreds of apparently faithful Christians were deceived by a dangerous con man.

Now, this idea must be used by us to encourage once again the conception of a «historical Jesus» to be found by clearing away later «accretions and perversions» and then to be contrasted with the whole Christian tradition... We thus distract men's minds from Who He is, and what He did.

In fact, many Gnostic Christians could not reconcile the idea of Jesus being fully God and fully man because they believed the supreme spiritual Being could not take on a physical identity without defiling His holiness.

I am inclined to think that Christians tended to be misled by the anthropomorphic ideas of God with which, quite rightly up to a point, they often operated; and that they found it unnecessarily difficult to think of salvation being effected by the personal Spirit of God reaching out to men in judgment, mercy, forgiveness and love through the medium of a human personality.

Indeed, any man who knows what it is to love and be loved can pray — Christian faith does not contradict the meaning of his praying, but crowns it and fulfills it, while correcting inadequate and childish ideas about what that praying intends.

First off this post is a 100 time repost and just to show the absurdity of it he calls Paul and Gods ideas antiquated anti semitic although Paul was a Jew among Jews, a Pharisee, highly educated highly respected, son of a lawyer in Jewish law, had a experience with Jesus that the men around him heard was blind and had his vision restored when prayed for, a persecutor of Christians to the point of killing them.

This idea that women are emotional, men are wanting to follow Jesus (in a warrior masculine way - whatever that looks like) stuff can be okay at times - but drawing to strict lines about this stuff is what I find repellent in a lot of modern Christian circles.

The close association of proselyte baptism with circumcision, and in particular with the prophetic idea of circumcision of the heart led naturally to the view that baptism took the place of circumcision, or that it was the Christian circumcision incorporating women and men into the new people of God, made up alike of Jews and Gentiles.

The present study is too brief to permit any proper analysis, but we may say that Christian eschatology, understood in this sense, is the product of a marriage of ideas found in Jewish thought, including the inter-testamental period, and the hellenistic soul - body portrayal of man.

Christian books and conferences tend to perpetuate the idea that a woman's worth should be measured by the details, rather than the message, of Proverbs 31, and like the magazines in the checkout line, often focus on fitness, domesticity, beauty, and success as ways of earning the favor of God and men.

Is this your same logic you use when you help to put an end to Obama Care, yours are looked after soon to heck with the poors children let them die because they were stupid enough to be born to poor people, is this your idea of christian values, well they match the republician and tea parties ideology right down the line worship money loath things that help the common man... Very christian indeed!

That Christian might have the secret receipe to help all humanity yet they will not give up the idea of life after this one to be with an invented lie of a man that rose from the dead.

Great founders of Christian monastic orders, men like Benedict, Francis of Assisi, and Vincent DePaul, produced wonderful variations of this idea.

The Godless Monster is right, people try and influence, control, manipulate, ect in every area of life when they have a position of authority, thats human nature, or the sin nature of man if you like.Because the church has a lot of organisation, its a hot bed of oppitunity for people with ideas or assperations to lead or control to position themselves, and once there become protective of their role, it gives them a voice.You will find them in schools, governments, offices, everywhere.IT really makes no difference if it christian or athiest place, its people being people

I critique the ideas of John Piper, as he should expect and invite, because he represents a role model among Christians, including men, because I think his ideas about women are damaging.

The idea that a nation comprised largely of Christian people would become a killing field where neighbors are slaughtering each other in huge numbers, where grown men who attend church regularly would pick up machetes and hack to death entire families, including the children, should strike us as utterly bizarre.

However, the idea of the concealment of the Son of Man provided the first Christians with the key that unlocked for them the earthly life of Jesus.

New Song Academy uses A Beka Books, Christian science texts that, according to A Beka's Web site, «present the universe as the direct creation of God and refute the man - made idea of evolution.»

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Just like that, director David Mackenzie establishes, first, the idea that the men in that blue Camaro are up to no good; second, the current of economic desperation driving screenwriter Taylor Sheridan's story; and third, the religious posturing that offers an alternative to existential despair, with roadside churches, TV evangelists, and Christian radio offering a relentless white - noise stream of piety on demand to an American underclass with nowhere left to turn.

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raIdea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raidea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

For many conservative Christians, the idea that man could manipulate God's creation remains outside their realm of belief.