Sentences with phrase «conceives of the future life»

Zeta immortality, which combines features of Delta and Epsilon immortality, conceives of the future life as an archetypal or imaginal world, along the lines suggested by Carl Jung and Henry Corbin.

Not exact matches

He never thought, after the Greek fashion, of soul as pure being, capable of disembodiment, but spoke, as his Jewish contemporaries did, of future life in terms of bodily resurrection, and on that basis he discussed life after death with the skeptical Sadducees, protesting only against the popular, contemporary ways of conceiving the raised body and its uses in the next world.

It is significant that there are an increasing number of those who believe that God's life itself must be conceived as having an element of adventure and movement into an open future, else we can not conceive that He enters sympathetically into our human experience.23

Whether this future is conceived as eternal life for the individual, or a new heaven and a new earth for mankind, or as the conquest of evil in or beyond human history, the trajectory is toward the future, the eschaton.

God's grace is not radically thought, so long as it is conceived as a possibility in the future instead of being grasped as a reality in the present; for what right would a man have to assert the grace of God, if he did not see it revealed as a concrete reality in his own life?

In its primitive form, it did not mean that the reflective individual conceived of himself as having had innumerable prior lives and as destined for many future ones.

The larger context through which our total situation may be transfigured is best conceived in terms of Civitas Dei, or the Kingdom of God, «which is not in Time at all — either present, future or past — and which differs from all temporal mundane states in the radical way of being in a different spiritual dimension, but which, just by virtue of this difference of dimension, is able to penetrate our mundane life and, in penetrating, to transfigure it».

I'm new to the ramifications and specific processes involved, but am pursuaded this is the likely model for future publication projects that most benefit the first person on the food chain: the writers / artists who conceived them, who are trying to make some kind of living doing what they do best, hoping to find an audience for their work as a * first * resort rather than wearing themselves out with full - time day jobs of no comparable skill or education preparation — but that pay the bills, maybe — and that leave little energy and reserves for their art.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

Playing with the language of architectural presentation by showing models and renderings for the future in combination with historical maps and buildings from the past, the artists conceive of «the urban construction site as an ever - changing still life».