There is no consistent or
concrete universal experience.
Not exact matches
In portraying Rodrigues's struggle to reconcile this idealized vision with the
concrete reality of the Japanese people, Endō and Scorsese wish us to see the
universal experience of human weakness.
The movement of descent, from the
universal principle down to
concrete reality, is of special importance in avoiding the pitfall of speculative «inadequacy,» in which «failure to include some obvious elements of
experience in the scope of the system is met by boldly denying the facts» (PR 6/9).
They are: i) revelatory
experiences are common to all religions, ii) revelation is received under finite human condition, iii) the three types of criticisms, mystical, prophetic and secular help to address the distortions that crept into revealed religions, iv) History of Religions makes «a
concrete theology that has
universal significance» possible and v) an acknowledgement that «the sacred is the creative ground and at the same time a critical judgement of the secular».
Some myths contain within themselves the nexus of a
concrete historical event
experienced by a group or by an individual while many have lost their historical character and contain only the symbolic expression of a
universal experience of man.
The stories are usually about famous people or the enduring stuff of
universal experience, but they can not satisfy the congregation's deepest longing, which is to explore its own life before God in as
concrete a fashion as possible.
Such a view maintains that everything, including
universals and God, are subjects of
experience and hence are
concrete and actual.
Through a kinetic juxtaposition of materials including a cymbal and piece of
concrete David Beattie explores the physicality of sound and how we
experience it in our everyday, while Dennis McNulty's research for a commission in Norway has led to a layered, performative multi-component work that takes 1930s science writing and a 1980s pop song by a-ha to join ideas of
universal time.
A
concrete cast of the interior of an entire terraced house, House only stood for a few months before its demolition, but was a landmark public sculpture for London and has come to epitomise Whiteread's lifelong project as an artist: fusing everyday architectural and domestic forms with personal and
universal human
experiences and memories.