Sentences with phrase «as creative self»

Therefore, however important the truth involved in the defining of the image of God in man as creative self - transcendence, it can not constitute the main make - up of the image.

Again, how this is possible, be it in relation to God or to the environment as they present themselves, distinctly or indistinctly, to me as a creative self - identifying unity, is a matter for further debate.

In the first place, he acts as a free agent, fulfilling his unique purposes as a creative self.

Not exact matches

As it becomes easier — or at least more common — for members of the workforce to be self - employed or start their own businesses, you as a corporate manager have to come up with creative ways to keep your employees on payroll and be engageAs it becomes easier — or at least more common — for members of the workforce to be self - employed or start their own businesses, you as a corporate manager have to come up with creative ways to keep your employees on payroll and be engageas a corporate manager have to come up with creative ways to keep your employees on payroll and be engaged.

However, I would like him to hold some of the characteristics that an entrepreneur would need for success as he grows up: self - starter, problem solver, leader, passionate, and creative to name a few

The self - mentoring I then embarked on uses a «hypnotherapy style» framework emphasizing inducing deep relaxation followed by visualization as outlined by Shakti Gawain in her book Creative Visualization.

This fear of exposing yourself and your work holds many of us back from being our most creative selves — and that goes for hugely successful artists as well as you and me.

Paying attention to the competition only slows you down because you're taking precious energy away from your thing and throwing it elsewhere along with decreasing your chances of truly operating as your most creative self because you're letting industry norms influence you.

As a poet, Ted Hughes had an acute sensitivity to the way in which constraints on self - expression, like the disciplines of meter and rhyme, spur creative thought.

After all, to actually quit your job and pursue a life as an artist, a photographer, a freelancer, or another sort of self - employed creative entrepreneur isn't always the most responsible choice.

Creatives need to focus beyond self to be successful as an industrialist!

Rather, self - starters have gained resilience as a result possibly of struggle and are stepping forward with a certain mind - set: with higher levels of confidence relating to their leadership, creative thinking and communication skills.

I take it that the «self - creative unity of the universe» refers to the actual entity insofar as it is a particular instance of creativity.

Second, it identifies God's self - creative subjectivity solely with the constitution of his primordial nature, as Ford argues at length in IPQ.

No mention is made of a Supreme Being in his own religious philosophy, only of a mysterious life - force or universal will - to - live which appears as a creative - destructive force in the world around us and as a will - to - self - realization - and - love within us.

This is the creative process of woman - identified women which Janice Raymond describes as becoming «Self - created,» an «original woman, not fabricated by man» (OFF 7).

Granted that the primordial nature constitutes God's «free» (though unconscious), nontemporal decision, yet as an actual entity he is completed by the conscious, temporal, self - creative propositional feelings he bears toward particular occasions.

It would seem right to regard as truly «saved» anyone who has been given the grace of a high and noble purpose which draws him out of preoccupation with self into a full creative life which serves the development of community.

The atomism of the autonomous self thus gives way to a sound sense of the community of being and the responsibility, as well as the opportunity, of being fulfilled within such a creative nexus.

The Category of the Ultimate asserts that the creative advance «is the universe always becoming one in a particular unity of self - experience, and thereby adding to the multiplicity which is the universe as many (PR 89).

The fact that Rinzai hoped for a creative response is itself exemplary of the fact that, in Zen, the true self includes volition as well as awareness.

Looked at from the point of view of its immediate pattern of self - enjoyment, an actual entity can be regarded as self - creative.

For Hartshorne, to be actual at all is to be an instance of creative synthesis, and this means to have power to be partially determinative of self and others, as well as to have the capacity to be partly determined by other selves.

One way to reconcile the difficulty is to allow that persons act through influencing the self - creation of actual occasions, to allow that a person is grounded in an astronomically large number of occasions as objectified in comparison to the single occasion on the cutting edge of the creative advance through which a person lives, endures, acts.

According to this thesis, religious perception begins with self - valuation and broadens into the experience of the character of the creative advance as a matrix of interrelated values, and, finally, of ever - enlarging value.

As we have seen, what the examination of perception brings to light for Whitehead is an occasion of experience which is a self - creative process, a subject synthesizing past objects into a novel unity.

His object, therefore, the past event, is not only an eternal object but also a necessary object, an object that must be what it is, and is known rationally in apprehending this necessity; Par.39: Applying these results to our knowledge of nature: we regard nature as a self - creative process and therefore creative of eternal objects.»

Its technical definition is «positive prehension»; thus to be «felt» means to be included as a prehended datum in an integrative, partly self - creative atom of process.

Suffice it to say that it reached its culmination, so far as scriptural witness is concerned, in the affirmation that in Christ the Word (the self - expressive creative Activity which is divine in nature) «became flesh and dwelt among us,» while in formal theological statement the climax was the declaration that in him there is a genuine union of divine Activity («true God») and human activity like our own («true human being»).

But a church's smaller groups are the settings in which lonely people can best experience the reality of religion as creative relationships — with self, others, and God.

They do have their own active and creative manner of collectively representing their historicity, which I am arguing, is closely intertwined with their experience with what they take to be the Divine Power, Ellaiyamman as the goddess of the Paraiyars is a pivotal symbol of the source (and the hope of protection) of this distinct physical and conceptual space: she conserves their geographic space by guarding their particularity as a community and she represents their conceptual space as self - reflective human beings.

In rejecting western philosophy's concept of the self as substance based on Aristotle, Whitehead offers as an alternative to substance what he calls «an actual entity» which is changing, self - determined and creative.

If localized individuals are to retain their character as partly self - creative, then God's creativity is not the complete explanation of their activity (which is their «being»).

Limper thinks that the nature of things, the uniqueness of each creative moment, is not fundamentally at odds with a drive for self - realization that instrumentalizes nature as part of its basic strategy.

He painstakingly tries to show that the self is not a determined self - enclosed substance, emphasizing instead the self as self - creative and self - causative.

But God's primary goal is for each of us to be as fully self - creative as possible, even if such creativity results in human oppression, and this is why God would not unilaterally keep self - creative individuals from abusing the freedom of others even if this could be done.

These two points, that the creative process includes the lure of a telos and that the agent of creativity is responsible for its activity, serve as a basis for the suggestion that self - determination in creative processes can be conceived in terms of two notions familiar to the philosophical tradition: eros and agape.

And this I take to be a generalized idea of «love» as partly self - creative sympathy.

He says, «The world is self - creative; and the actual entity as self - creating creature passes into its immortal function of part - creator of the transcendent world.

In the series, Scher describes her creative process as starting from a point of breaking down her own self - awareness and allowing subconscious to take hold.

This he saw as the thin sphere of creative and self - conscious human thought within the biosphere.

He pointed out that all God's actions are according to His eternal Logos — which «means both reason and word — a reason which is creative and capable of self - communication, precisely as reason.»

Our minds are much more powerful, intricate, and potentially creative (as well as destructive) than our conscious self - understanding can even imagine.

Whitehead defined more precisely the character of determinateness in its becoming and of indeterminateness in its perishing as a relationship between coherence and incoherence: «An actual entity... is self - creative; and in its process of creation transforms its diversity of rôles into one coherent rôle.

For Whitehead, the unit - actualities are «experiment occasions,» which are always in some degree «self - creative» and each such occasion contributes to the divine consciousness, which regards it with «tenderness» after it exists and inspires it with his ideal for its coming - to - be as it comes into existence.

We do not deny or circumscribe the Creator, because we hold he has created the self - acting originating human mind, which has almost a creative gift; much less then do we deny or circumscribe His power, if we hold that He gave matter such laws as by their blind instrumentality moulded and constructed through innumerable ages the world as we see it... Mr Darwin's theory need not then be atheistical, be it true or not; it may simply be suggesting a larger idea of Divine Prescience and Skill... At first sight I do not see that «the accidental evolution or organic beings» is inconsistent with divine design - It is accidental to us, not to God.»

They see it as a devaluation of man, a repression of the self's vital impulses, and an unwillingness to affirm its creative power.

The primary characteristics of any self - creative beings — and we must suppose that this holds pre-eminently for human beings — are freedom, transience, and novel purpose... The denial of rationality as the primary character of experience involves the denial of principles as external sources of order and thus entails the consequence that each aesthetic event will constitute its own source of order and novelty.

Because becoming has such importance for me as self - creative, and is not to be construed merely as volatile being, it is apparent why my own view of God requires divine presence in the fount of becoming, not only in data prehended (cf. CC).

Some theologians, notably Reinhold Niebuhr, interpret the image of God in man as man's capacity for creative self - transcendence.