Sentences with phrase «century life of faith»

Not exact matches

We live here for so many decades, I would hate to think that the truth of the object of my faith would be determined by centuries of contradictory theologies, all bringing something to the conversation, none having all the answers.

Ron Dreher calls it the Benedict Option as he believes it is time for Christians to copy the fifth - century monk St Benedict and pursue a «communal withdrawal from the mainstream, for the sake of sheltering one's faith and family from corrosive modernity and cultivating a more traditional way of life».

Although Calvin never lost sight of these themes, he is perhaps best remembered for his detailed exposition of the leading themes of the Reformed faith in his Institutes of the Christian Religion» widely regarded as the most significant religious work of the sixteenth century» and his wrestling with issues concerning the identity of the church and its place in public life.

Finally, participants will consider how we might best live as flourishing citizens of faith in the second decade of the twenty - first century.

William of Ockham was a 14th century philosopher / theologian who said, «Essentia non sunt multiplicanda praeter necessitatem» whatever that means, and who argued that theology should be reasonable and logical whereas faith is a matter of faith and ought to show in your way of life.

Perhaps because he was forced to exist for so many centuries as an exile in alien religious worlds, the Jew has been prepared to live in faith in a Godless world, and therein to preserve the name of the Lord, even if that name must now be named as no - thing - ness.

Dr. William Porcher DuBose seems to suggest in his fine autobiography Turning Points of My Life, and James Matthew Thompson explicitly said in his Through Fact to Faith — both of these books are nearly a half - century old — that the soundly biblical conception of providence serves to safeguard and to state all that the term «miracle» was once used to affirm.

If God is dead in the life of faith — and this truth is prophetically apparent in the great Christian visionaries of the nineteenth century — then the theologian must fully acknowledge that the Christian God is dead.

The following centuries of monastic experimentation gave them deep insights into humility, and into the great theological virtues of faith, hope and charity, They understood the Gospels to be saying that we are meant for great things — meant to live in imitation of Christ himself.

But some Bunyan, writing Pilgrim's Progress in a prison where it was so damp that, as he cried, «The moss did verily grow upon mine eyebrows»; some Kernahan, born without arms and legs, but by sheer grit fighting his way up until he sat in the House of Commons; some Henry M. Stanley, born in a workhouse and buried in Westminster Abbey; some Dante, his Beatrice dead, he himself an exile from the city of his love, distilling all his agony into a song that became the «voice of ten silent centuries», or some more obscure and humble life close at hand where handicaps have been mastered, griefs have been built into character, disappointments have been turned into trellises, not left a bare, unsightly thing — such incarnations of fortitude and faith have infectious power.

The faith of first - century Christians in the Roman Empire was rooted in Christ, but their living was grounded in Caesar.

Will we find a home in our midst for leaders of faith movements — the Peter Cartwrights and Frances Willards of the 21st century — who inspire us by living out the two greatest moral lessons of life: «to hear» (which can produce «martyrs») and «to dare» (which can produce «heroes»)?

«It is an indescribable tragedy that Christianity is now under such threat in the Middle East; an area where Christians have lived for 2,000 years, and across which Islam spread in 700AD, with people of different faiths living together peaceably for centuries.»

Because on investigation of the text it is noted that Jesus accepted Scripture as his sole and divine authority (admittedly Jesus» pronouncements and actions were not framed in the context of the twentieth - century debate on authority, but his trust in Scripture still seems incontrovertible), Christians similarly believe the Bible to be basic to their faith and life.

If indeed Christian existence offers to the Jew the fulfillment through transformation of his own existence, how can it be that millions of Jews have lived among Christians for nineteen centuries, unshaken in the conviction that Christianity represents a distortion of Israel's faith rather than its fulfillment?

God or Nothing, by Cardinal Robert Sarah (Ignatius Press): It was the book being discussed at Synod - 2015 and with good reason, for this interview - style autobiography of a life of faith is moving, insightful, and a wonderful testament to the fruits of the European mission to Africa in the early twentieth century.

We must ask whether, in the early years of... [the 20th] century, there was any similar crisis of faith and intellect in the life of the non-Catholic Christian communities.

A century later, we are living in the closing years of a pontificate that has, above all, taught Catholics not to be afraid» afraid of those who hate the Church so that we do not honestly contemplate the failings of our own past; afraid of the progress of science so that we needed to be reminded by the Pope «that faith and reason are like two wings on which the human spirit rises to the contemplation of truth.»

To pick some random examples: In the 12th century, Peter Abelard, after a life of tragedy and tribulation, concludes his account of his own faith by saying, «The storm may rage but I am unshaken, though the winds may blow they leave me unmoved, for the rock of my foundation stands firm.»

At the heart of the 16th - century Reformation movement was the experience of «justification by faith» in the life of an Augustinian monk.

In The Bible Tells Me So, Peter Enns attempts to present an approach to Scripture which allows for us to accept that it has historical and scientific errors and that it contradicts itself at various places, and yet still retain the Bible as an important witness to the theological and spiritual struggles which were faced by our forefathers in the faith, and more importantly, as a historical document about the life of Jesus and how the death and resurrection of Jesus resulted in the transformation of the first century mediterranean world.

Richard recently in Christianity Today: «Only a thinker so well grounded in the Reformation traditions could be an honest broker in bringing faithful evangelicals and believing Catholics to recognize the common source of their life together in Jesus Christ, the Holy Scriptures, and the great tradition of living faith through the centuries.»

Its intention is to affirm and explain the faith, life, and worship of the Catholic Church, and the fact is that - historically and theologically - the disputes with Lutherans, Calvinists, Zwinglians, and others in the sixteenth century is far from being the most formative experience in the Church's understanding of her faith, life, and worship.

If Christianity continues to tell you that WHEN you get your act together — God will finally open his arms, the representatives of this faith are not understanding the premier principal of God — through Christ he loves you NOW — but when his love begins to radiate into your personal life - your very personal life - you will make choices reflecting that reality — all other things, people, dogmas, Biblical interpretations — all of that through the long centuries of man — will be a drop in His eternal ocean and in that first eternal moment — won't matter - your needs now matter — Christ addresses need — with Himself — demands — with parabolic events — and refusal — with the end result of free will — even the will to reject Him — when He would have done anything for you to not be rejected.

We face, in effect, a modern version of the Penal Laws, the legislation which for well over a century systematically excluded Catholics from public life by requiring them to publicly deny various parts of the Faith or to take Communion in the Anglican Church before they could hold certain jobs.

These essays clearly establish that the «legacy» is, first, securing and advancing the teaching of the Second Vatican Council and, second, setting the agenda for the Church's faith and life in the twenty «first century.

In spite of the faith of the 18th - and 19th - century political reformers such as Voltaire and Marx in the «verdict of history,» the arena of political decisions is not likely to be a place where the big issues of life are discussed or decided solely or even primarily on the basis of truth and justice.

She leads social media for ministry intensives around the country, helping faith leaders explore authentic ways to enrich, engage and expand progressive communities in the 21st century, and is the proud proprietor of The Holy Heretic, a thinking person's tavern found in Second Life.

I attempted to sketch the difficulties of relating the Resurrection narratives of the New Testament to the kind of world in which we live, and to show that, in spite of these, the Resurrection faith of the church can still have meaning for men who have left behind the world view of the first century.

The RE syllabus is too often dictated by the needs of public examinations, but even within this some fine work could be done, and the Faith communicated for what it is: essential knowledge, rich and deep, that opens wide the whole of life's meaning and purpose and sets it in the context of centuries of God's revelation and 2,000 years of Church history that is thrilling to discover.

Considering the vast array of geopolitical issues with which a Supreme Pontiff is burdened in his solicitude for the whole of the universal Church, that Benedict should choose to close his pontificate (or Francis to open his own) with anencyclical on the theological virtue of faith indicates a very pointed discernment of the signs of the times made by the papacy in our age; namely, that what is most lacking in the century in which we live — what is most crucial to today's society and what this era of history most requires, therefore, from the Church — appears to be faith.

The large - scale compilation of data of the nineteenth century and up to World War I has in the twentieth century and particularly since World War II been supplemented by a living encounter — a large - scale face - to - face meeting between persons of diverse faith.

On the whole, 19th - century (German) Protestant scholarship, no longer able to affirm inherited christological doctrines such as atonement and parousia, preferred «the Jesus of history» before he became «the Christ of faith» (to use the title of D. F.Strauss's book - length review of Schleiermacher's Life of Jesus).

Christians in affluent countries in the twentieth century have grown used to such a fast pace of life and to such constant changes in the material environment that we tend to think that our problems are unique, that the past is worthless as a source of wisdom for modern times, and that our ancestors in the faith have little in common with us.

Confucianism, which, until the twentieth century revolution, was for centuries the State religion, has been the dominant faith, and has been most influential in shaping the patterns of the religious and moral life of the people.

Since the Progressive Era of the early 20th century, public education has been dominated by what the historian Raymond Callahan (1962) described as a «cult of efficiency,» an almost religious faith in the power of rational, «scientific» management to tame the complexities of life in schools (also see Rose, 2016; Mehta, 2015).

As the great Italian critic Croce remarks, he had at once the scientific interest in history and human life of the encyclopedists, the irony of Voltaire, and the faith in Christian morals of the Catholic reaction of the early nineteenth century - the reaction whose romantic exaggeration one can see in Chateaubriand Spirit of Christianity.

A mystical temple teeming with a strange life - like energy of its own awaits you on your sacred crusade of suffering and redemption that will take you to the depths of traditions spanning centuries — and leave you questioning your faith and your own existence.

The secrecy may ultimately signify the murky intersection within today's society of faith, morality, and politics, but can also be seen to underscore the ritualistic nature of human life across centuries and cultures.

For half a century, the School has maintained a belief in its original vision: faith in the great language of art, a commitment to excellence, integrity, and serious work habits, the encouragement of an open mind, and the conviction of the power of art to change one's life.

A Divine Light is designed as intimate encounter with the devotional art of the fifteenth and sixteenth centuries and explores the ways in which Northern Renaissance artists expressed the central mysteries of the Christian faith through setting, pose, gesture, and the objects of everyday life.

Her wide - ranging interests in American art and visual culture are reflected in the breadth of her publications, including Benton, Pollock, and the Politics of Modernism: From Regionalism to Abstract Expressionism (1991, which received the Charles C. Eldredge Prize), Spirit Poles and Flying Pigs: Public Art and Cultural Democracy in American Communities (1995), Elvis Culture: Fans, Faith, and Image (1999), Looking at Life Magazine (editor, 2001), Twentieth - Century American Art (2002), The Emotional Life of Contemporary Public Memorials: Towards a Theory of Temporary Memorials (2008), Memorial Mania: Public Feeling in America (2010), and American Art of the 20th - 21st Centuries (2017).

, Frac des Pays de la Loire, Carquefou, France Projects 70 - Jim Hodges, Beatriz Milhazes, Faith Ringgold, Museum of Modern Art, New York, USA Age of Influence: Reflections in the Mirror of American Culture, Museum of Contemporary Art, Chicago, Illinois, USA Outbound: Passages from the 90's, Contemporary Arts Museum, Houston, Texas, USA ZONA F; An approach to the spaces inhabited by the feminist discourses in contemporary art, EACC, Espai d'Art Contemporani de Castelló, Spain The Trunk Show, Zoller Gallery, Penn State University, University Park, Pennsylvania, USA Vanitas: Meditations on Life and Death in Contemporary Art, Virginia Museum of Fine Arts, Richmond, Virginia, USA Of the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, Burlingtoof Modern Art, New York, USA Age of Influence: Reflections in the Mirror of American Culture, Museum of Contemporary Art, Chicago, Illinois, USA Outbound: Passages from the 90's, Contemporary Arts Museum, Houston, Texas, USA ZONA F; An approach to the spaces inhabited by the feminist discourses in contemporary art, EACC, Espai d'Art Contemporani de Castelló, Spain The Trunk Show, Zoller Gallery, Penn State University, University Park, Pennsylvania, USA Vanitas: Meditations on Life and Death in Contemporary Art, Virginia Museum of Fine Arts, Richmond, Virginia, USA Of the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, Burlingtoof Influence: Reflections in the Mirror of American Culture, Museum of Contemporary Art, Chicago, Illinois, USA Outbound: Passages from the 90's, Contemporary Arts Museum, Houston, Texas, USA ZONA F; An approach to the spaces inhabited by the feminist discourses in contemporary art, EACC, Espai d'Art Contemporani de Castelló, Spain The Trunk Show, Zoller Gallery, Penn State University, University Park, Pennsylvania, USA Vanitas: Meditations on Life and Death in Contemporary Art, Virginia Museum of Fine Arts, Richmond, Virginia, USA Of the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, Burlingtoof American Culture, Museum of Contemporary Art, Chicago, Illinois, USA Outbound: Passages from the 90's, Contemporary Arts Museum, Houston, Texas, USA ZONA F; An approach to the spaces inhabited by the feminist discourses in contemporary art, EACC, Espai d'Art Contemporani de Castelló, Spain The Trunk Show, Zoller Gallery, Penn State University, University Park, Pennsylvania, USA Vanitas: Meditations on Life and Death in Contemporary Art, Virginia Museum of Fine Arts, Richmond, Virginia, USA Of the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, Burlingtoof Contemporary Art, Chicago, Illinois, USA Outbound: Passages from the 90's, Contemporary Arts Museum, Houston, Texas, USA ZONA F; An approach to the spaces inhabited by the feminist discourses in contemporary art, EACC, Espai d'Art Contemporani de Castelló, Spain The Trunk Show, Zoller Gallery, Penn State University, University Park, Pennsylvania, USA Vanitas: Meditations on Life and Death in Contemporary Art, Virginia Museum of Fine Arts, Richmond, Virginia, USA Of the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, Burlingtoof Fine Arts, Richmond, Virginia, USA Of the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, BurlingtoOf the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, Burlingtoof the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, Burlingtoof American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, Burlingtoof Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, Burlingtoof Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, Burlingtoof Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, Burlingtoof Vermont, Burlington.

Creating any art involves a leap of faith, and throughout the last century artists have put themselves at risk and challenged viewers, reflecting on what risk means in our society and daily lives.

Organized by the Pennsylvania Academy of Fine Arts, this exhibition is the second stop on a three city tour.More than one hundred pieces, from paintings to sculptures are included in this exhibition of the career and life of the artist Henry O. Tanner (1859 - 1937)- including Tanner's upbringing in Philadelphia in the years after the Civil War, the artist's success as an American expatriate artist at the highest levels of the International art world at the turn of the 20th century; Tanner's role as a leader of an artist's colony in the rural France and his unique contributions in aid of American servicemen to the Red Cross efforts in WWI France and his modernist invigoration of religious painting deeply rooted in his own faith.

Early 20th century abstraction went the other way, expressing faith that colors, shapes and lines could be powerful reflections of an artist's inner life, rather than the outer world.

Even the dithering on slavery for centuries was simply a failure to live up to the teachings at the core of the faith / ethic.

Co-sponsored by: First Church in JP Unitarian Universalist, Social Justice Action Committee Racial Justice Task Force of Theodore Parker Church Jamaica Plain Forum As persons of faith living in 21st century America, we feel called to question how we might work, take action, do our part, to dismantle white supremacy.

About Blog Pastor Brian's thoughts and musings about life and faith in the 21st - century, follow up to his recent sermons, as well as posts of his Pastor's articles for our church's newsletter.

About Blog Pastor Brian's thoughts and musings about life and faith in the 21st - century, follow up to his recent sermons, as well as posts of his Pastor's articles for our church's newsletter.