Sentences with phrase «as a prologue of»

You can play as Shadow too, albeit in a free DLC that serves as a prologue of sorts, filling in the backstory of new villain Infinite.

Not exact matches

The first half of the film feels strangely off — it starts with a prologue set in the»80s that introduces Michael Douglass as Hank Pym, a scientist with a remarkable formula for shrinking matter who decides to hide it from the government agents that want it as a weapon (there are also quite a few Easter eggs for Marvel fans in those first few minutes).

The racy Grand Theft Auto IV isn't the only major game coming out this spring — Capcom's Devil May Cry 4 was released in February; Sony's Gran Turismo 4 Prologue hit shelves in April; and God of War: Chains of Olympus in March, the same month as Nintendo's Super Smash Bros..

20th Century Fox released the film's prologue on Wednesday night, which shows the crew of the colony ship Covenant as they party one last time before going into cryosleep.

The three shorts were planned to be screened as prologues to each act of the play, but the prints were never finished.

But Cage's kind of simplification is what Jose Ortega y Gasset was writing about between the world wars in Man and Crisis at a time when Europe as well as America was experiencing the events that turned out be prologue to the coming counterculture of the sixties.

Also, as noted, I apologized for those times when my anger got the better of me but in hindsight, I see I was exhibiting signs of prologued trauma and abuse not signs of mental illness (like most of NYC I got tested post 9/11 and there's no signs of mental illness though my childhood growing up with two alcoholic parents who died before I was 18 does produce some triggers that I now know how to manage so I don't let my anger get the better of me).

Play breaks through such barriers and thus serves as a prologue to and / or a check upon a life of freedom.

This «prologue» to the Gospel culminates in a statement which both the world of his day and the world ever since have rejected as destructive of all religious thought about and awareness of the mystery of the divine.

The first is the beautiful prologue in John 1: 1 - 14, in which Jesus is presented as the incarnate Logos, «the Word made flesh» to dwell among us in undying light, «full of grace and truth.»

The Prologue represents this Word of the Lord as the Light which, shining in the darkness, stage by stage grows in intensity to the point at which all its rays are focused on one spot of blinding glory in the Incarnation.

In fairness to Girard, I must say that he realizes very clearly that the key to the whole problem is found in the Prologue of John, but he writes in the genre of sociological theory rather than the genre of theology, which prevents him from speaking as freely as he might of the Incarnation of the Word of God in human history.

We tend to think of atonement only as the prologue to a new relationship.

Brunner appeals explicitly to the prologue of John and to certain sayings of Paul, but surely one who is as emphatic as he in rejecting the authority of Scriptural teachings as such does not mean to say that we accept the doctrine of creation because of the presence of these passages in the New Testament.

In continuity with the prologue of John, the whole Gospel is an apologia for the belief in Jesus as the Son of God, just as he claimed to be and demonstrated by his signs.

The same point could be made concerning the first chapter, the Prologue as it is called, of the Gospel of St. John.

But the hero appears as a man of distinguished patience only in the relatively brief prologue of the work; and the sensitive reader of Job may well wonder whether the primary concern of the writing is the problem of suffering or that one vast, central problem of life under God, the life of faith.

This is the sense of the prologue as it is used by the author of Job.

The prologue justifies the popular image of Job as a man of unparalleled (indeed incredible and unhuman) patience; but in all the poetry that follows there is nothing to confirm this quality in Job, not even in the Job who accepts at last the rebuke of Yahweh (40:4 - 5 and 42:2 - 6).

They'll be refreshed if instead they discover warm acceptance of them as persons, and a viewing of the past as prologue, as a foundation of valuable — though sometimes painful — experiences on which they can build!

It was from Collingwood, as he indicates in the prologue to the third edition of After Virtue, that he came to recognize that «what historical enquiry discloses is the situatedness of all enquiry, the extent to which what are taken to be the standards of truth and of rational justification in the contexts of practice vary from one time to another.»

This passage hardly qualifies as the poetic - simple language of Canon Drinkwater, but perhaps neither does the prologue that it paraphrases.

And what if the prologue to John's Gospel is also right in identifying this Jesus, whom God condemned, as the incarnation of God's most intimate word, God's innermost thought?

Yet as soon as these closing verses of the prologue are connected to the opening words of the evangelist, the body of the gospel that follows must necessarily be included because the subsequent content of Jesus» life elucidates the disclosure of 1:18 b as well as the discrepant eschatologies that are conveyed by the two numerical schemes of verse 17.

Indeed, in him, the Alpha and the Omega, the beginning and the end of history (cf. Rev 22:13), creation itself acquires its full meaning since, as John recalls in the Prologue to his Gospel, «all things were made through him» (Jn 1:3).»

Of course, the Prologue of John emphasises the whole Christ, human as well as divine, making great play of the fleshly reality of the Word (Jn 1, 14Of course, the Prologue of John emphasises the whole Christ, human as well as divine, making great play of the fleshly reality of the Word (Jn 1, 14of John emphasises the whole Christ, human as well as divine, making great play of the fleshly reality of the Word (Jn 1, 14of the fleshly reality of the Word (Jn 1, 14of the Word (Jn 1, 14).

The climax of the prologue is its last verse: «And the Word was made flesh, and dwelt among us, (and we beheld his glory, the glory as of the only begotten of the Father,) full of grace and truth» (1:14).

Though John the Baptist is introduced as the herald of the Word in the prologue itself (1:6 - 7), who John was and the manner in which he performed are presented immediately following the prologue in a separate section of the Gospel.

Let us now turn to the Prologue, the first 18 verses of the Fourth Gospel to see what John has to say about Jesus as the Logos.

The author interprets the Prologue to John's Gospel as a hymn in four stanzas, as the recitation of salvation history in poetic form.

It is often suggested that John drew on the writings of Philo (an Alexandrian Jewish Philosopher, 25BC - AD50) to develop the concept of Logos as used in the Prologue.

Since the Logos as expressed in John's Prologue is the constant reference point, and one which Benedict understands as offering a synthesis of the entire Christian faith, [20] it is perhaps inevitable that the primacy of Christ, the word incarnate, should be affirmed.

The fullest understanding of the Logos of the Prologue is as the One who is Wisdom - Word.

This completion is expressed in the Prologue of the Gospel according to John where the word logos is prominent and is translated into English as «Word».

Significantly, in them we also read that the Pope takes the Prologue of John's Gospel as the «synthesising principle» for the work of the Synod.

Indeed, following the prologue of John's gospel, we find Christ as the presence or incarnation of God in everything, especially where there is life, and still more importantly in the light that enlightens every human being.

We find this in such diverse writings as Hebrews (1 - 3) and Colossians (1:16 f.), but the best - known instance is the prologue to the gospel of John (1:1 - 4).

The interpretation given of Jesus as the Logos in the Prologue is confessedly interpretation, and interpretation influenced by the intellectual thought of Hellenistic Judaism, but at the same time one justified by the belief of the Church in Jesus» Sonship.

St. John's prologue to his Gospel (John 1:1 -18) clearly presents Christ as the fulfilment of Creation which is the product of the Logos and the Mind of God.

We must not overemphasize the crucifixion, as if it were the only event in the life of Jesus, or as if everything else in His three - year ministry was just prologue.

Four thousand fans were at ringside, millions saw the fight on television, but none was aware of the dirty drama that served as a prologue.

Over a short distance like the prologue of the Tour de France, that can save as much as 6 seconds: enough to make the difference between winning and losing.

Finally for all the film's ridiculousness — enshrined in that cheesy - as - cheddar prologue spoken by Mako — Milius resists the temptation to play the silliness self - consciously (as say Stephen Sommers would), but revels in the earnestness of Conan's personal quest for revenge against Thulsa Doom.

After an intriguing prologue that sets up the real reason for the space race — something crashed on the dark side of the moon [but they couldn't use that as a title because of the Pink Floyd album]-- Transformers: Dark of the Moon quickly devolves into an action movie with giant robots, explosions, gunfire, and some rude language from Sam Witwicky's [Shia LaBeouf] parents [played by the ever delightful Julie White and Kevin Dunn].

The character has no franchise potential, as the film opens with an epilogue - as - prologue about Poe's death, but maybe Cusack and his director, V for Vendetta's James McTeigue, were still hoping for that same kind of pithy, indelible hero.

We see his reasons in a flashback which leads to a deliciously on - target lampoon of a James Bond opening musical number (song courtesy of Celine Dion) complete with Deadpool - inspired fake credits that act as a commentary on the prologue.

The new episodes don't represent another radical leap forward in style or quality the way season two was, but whatever's lost from the shock of the new (nothing here is quite as weird or surprising as the cavewoman prologue or «International Assassin,» though a joke in the second episode and a party sequence in the fifth come close) is gained in how much more we know all the characters at this point, and how aware they are of their proximity to their story's end.

The Phantom Pain makes a pretty clear assumption that you're familiar not just with Metal Gear lore, but the events of stand - alone prologue Ground Zeroes as well.

Some of the new scenes, such as extensions to the prologue, have no consequence and are inconsequential; the picture had sloughed this stuff off very organically.

After a sinister prologue that serves as flashback and foreshadowing, the first few reels play like an episode of «Everybody Loves Camilla» — happy baby, happy parents, cheery nanny.