Models in religion are
also analogical.
Not exact matches
On the contrary, we can now envision all trees as
analogical actualities, as transcendent symbols that participate in the reality that they signify, as having likenesses to us despite their differences from us, and thus as linking natural things with both human and divine things — and perhaps
also with things demonic.
For critical presentations of approaches to this correlation, see David M. Tracy, The
Analogical Imagination: Christian Theology and the Culture of Pluralism (New York: Crossroad Publishing Co., 1981); see
also his Blessed Rage for Order (New York: Seabury Press, 1975); James A. Sanders, «Hermeneutics,» Interpreter's Dictionary of the Bible: Supplement, ed.
If Aquinas at least tacitly acknowledges this by making all
analogical predications depend upon the clearly literal distinction between Creator and Creature, he can
also seem not to acknowledge it by flatly declaring that we can not know of God quid sit, but only an sit or quod sit.
See
also Tracy's description of the dynamic character of both the interpretation and formation of a «classic,»
Analogical Imagination, 115 - 30.
By conceiving God as eminently relative, he is not only able to conceive God as
also eminently nonrelative or absolute but is further able, without falling into contradiction, to make the symbolic or
analogical assertions about God that are essential to theistic religious faith and worship.
(This approach is
also called
analogical, as opposed to univocal or equivocal, and has a more general application: a single term [e.g., «alive»] may be predicated all along the scale of being, but only if suitable adaptations are made at each threshold.)
By reconciling imagination and reason, separated since the famous Discourse on Method of Descartes, Varela and Simon refresh the
analogical thinking so precious to Leonardo da Vinci who says to us: «As the bolt rises which we screw in the nut,
also will go up the helix which we screw in the air» The practice of the debate proposes a scenography of alive metaphors in a space of artificial intelligence.
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