Sentences with phrase «creative men in»

Not exact matches

Josh Weltman, an advertising creative director for 25 + years, and the co-producer of Mad Men, put it well in his book Seducing Strangers:

Led by the creative artistry of the Artistic Director of Hermès Men's Universe, Veronique Nichanian, the House has brought its Autumn / Winter 2018 range an understated style with an affluent touch, evident in its materials and tailoring, which includes quilted patterns, supple cashmere flannel and silkscreen lining, to name a few.

«The PC norm, by establishing a clear guideline for how to behave appropriately in mixed - sex groups, made both men and women more comfortable sharing their creative ideas.»

A winner of first prizes in all the media, he has been part of the creative teams that made household names of The Marlboro Man, Tony the Tiger, The Pillsbury Doughboy, Charlie the Tuna, Morris the Cat, Green Giant, Allstates good hands, Uniteds friendly skies, and the Sears Diehard battery.

Jay Conrad Levinson released the first of more than 60 Guerrilla Marketing books in 1984, after a corporate marketing career that included being on the creative team that developed the Marlboro Man.

The man officials have identified as the creative force behind Inspire, an American citizen namedSamir Khan, was killed in the same missile strike in Yemen that killed Mr. Awlaki.

The questions is whether or not people are willing to see God as an old man in a robe with who creates essence out of nothing, or if people are willing to see God as the «creative» event that occured, a so - called actual essence of energy that was the over-all reason why we are here now.

The highest creative intelligence was birthed in EGYPT iethe pyramidswith precision math as astounded man forcenturies.

He told her that «Women do not do any of the creative work in connection with preparing the cartoons for the screen, as that task is performed entirely by young men.

This, as we have seen, is in order to make sense of Man's intentional consciousness, creative behaviour and organic brain, as well as his destiny in Christ.

We do not think of His acting as an occasional intervention coming from the outside, but rather as the transcendent creative activity of God who alone makes it possible for our world to «hold together» and to rise, in accordance with His plan, step by step higher, so that really new things appear in it and finally man appears in it.

Between man and man the Socratic midwifery is the highest relation, and begetting is reserved for the God, whose love is creative, but not merely in the sense which Socrates so beautifully expounds on a certain festal occasion.

Let us reverse the process we took above and move up from matter to man in order to see the effect of belief as a principle of creative and radical transformation.

In such books as Beyond Humanism, Man's Vision of God, A Natural Theology for Our Time, Creative Synthesis and Philosophic Method, and The Logic of Perfection, Hartshorne has been indefatigable in the presentation of this «di - polar» positioIn such books as Beyond Humanism, Man's Vision of God, A Natural Theology for Our Time, Creative Synthesis and Philosophic Method, and The Logic of Perfection, Hartshorne has been indefatigable in the presentation of this «di - polar» positioin the presentation of this «di - polar» position.

There would be no need to «make» God share in man's adventure or be affected by human actions according to Whitehead, for such is the nature of God: «Decay, Transition, Loss, Displacement belong to the essence of Creative Advance» (Al 368 - 69).

It was the culmination of previous events in the lives of these men (summed up in their memories of Jesus), and the creative starting point of a new sequence of events of which the world was soon aware.

In what sense do we regard the Cross as an act creative in itself, as an opus operatum whose agent in the loneliness of his total rejection achieved something new, radically affected the scheme of things entire, established in respect of the relations of men and women to God a new foundatioIn what sense do we regard the Cross as an act creative in itself, as an opus operatum whose agent in the loneliness of his total rejection achieved something new, radically affected the scheme of things entire, established in respect of the relations of men and women to God a new foundatioin itself, as an opus operatum whose agent in the loneliness of his total rejection achieved something new, radically affected the scheme of things entire, established in respect of the relations of men and women to God a new foundatioin the loneliness of his total rejection achieved something new, radically affected the scheme of things entire, established in respect of the relations of men and women to God a new foundatioin respect of the relations of men and women to God a new foundation?

When we look at man we see that he is spirit essentially ordered to fulfilling his creative responsibility in time.

Aware of God's call to a share in his creative activity, man grows in the consciousness of his responsibility to make that response possible.

Finally, Thomas Altizer expresses this tension between man's creative subjectivity and a transcendent reality: «Once the Christian has been liberated from all attachment to a celestial and transcendent Lord, and has died in Christ to the primordial reality of God, then he can say triumphantly: God is dead!

To avert such a disaster, the Judeo - Christian heritage must be allowed to shed its outworn forms, and by finding that mode of expression most proper to the context of the new world, demonstrate to men that it possesses the same creative vitality that it has manifested in earlier periods.

God in his working, and in his ways of working, is persuasive not coercive power; he is that creative, dynamic, energizing love which was seen by men in the person of Jesus Christ and in Jesus Christ's own working and ways of working.

Can God's existence be accepted without destroying man's dignity in his free creative role in the universe?

One of the creative process philosophers, Charles Hartshorne, states in the beginning of Man's Vision of God his conviction that «a magnificent intellectual content — far surpassing that of such systems as Thomism, Spinozism, German idealism, positivism (old or new) is implicit in the religious faith most briefly expressed in the three words, God is love».1 If this be true what is needed is not the discarding of metaphysics but the exploration of this new possibility in the doctrine of God's being.

If man today is asking, can God's existence be reconciled with man's deepened experience of himself as free creator of the world, the Whitheadian approach with its notion of God's persuasive personal action in the world, with its discovery of God's presence yet absence in man's creative activity, with its stress on the mutual immanence of God and the world, offers pathways for further development.

In fact, I studied Physics and I am inclined to think that we all want to believe in the big bang becasue it is simple and it conjures up all kinds of imaginary causes such as a creative old man with a long white beard floating out in vast void in need of excitemenIn fact, I studied Physics and I am inclined to think that we all want to believe in the big bang becasue it is simple and it conjures up all kinds of imaginary causes such as a creative old man with a long white beard floating out in vast void in need of excitemenin the big bang becasue it is simple and it conjures up all kinds of imaginary causes such as a creative old man with a long white beard floating out in vast void in need of excitemenin vast void in need of excitemenin need of excitement.

And while TR» the man who practiced creative destruction on the GOP in 1912» was a great man, he was not, in the end, nearly so successful a politician as Reagan.

Why not also through creative stories that were planted in the minds and hearts of men and women all over the earth?

It would be odd if a creature such as man and woman, made in the image of God to be creative and inventive, and made to be provident over our own earthly good, were unable to discover the natural laws of ordered liberty and fruitful creativity.

Maybe we who want to embody agape as «creative goodwill» are being called back into action, not this time to man the barricades or even to carry picket signs, but rather to initiate fresh forms of dialogue in parent - teacher - student organizations and town councils.

Through every man's sin, sin comes into the world; that is, through every individual's failure to respond in faith to the creative Word of God, the sin of Adam and Eve is repeated once again.

Today Satan tempts the creative man to lose himself in the inessential, to roam about in the great confusion in which all human clarity and definiteness has ceased.

In both cases he has resolved the tension between the two poles through a creative third alternative — the relation between man and man.

Men and women are then seen to be «co-creators» with God, as Whitehead put it; and as such they are both the creatures of God's love and the sharers in God's ongoing purpose of good in the creative advance.

The crucial religious experiences of man do not take place in a sphere in which creative energy operates without contradiction, but in a sphere in which evil and good, despair and hope, the power of destruction and the power of rebirth, dwell side by side.

In so far as man partakes of this creative process does he partake of the divine, of God, and that participation is his immortality, reducing the question of whether his individuality survives death of the body to the estate of an irrelevancy.

«It is creative when an ultimate norm or value is set in judgment over the historically relative and ambiguous achievements of man's existence.

Because he is himself a creative agent living in community with other such beings, truth not only makes men free; it is also what free men make.

Language about God in existential terms is grounded in objective reality because God is a creative agent in the world beyond man.

Demonstrating an affinity with the Romanticist tradition of Schleiermacher and Dilthey, these men seek to uncover the seminal experience or creative insight of the authors of the texts in question, the experience that was objectified in words.

Zarathustra looks forward to the time when men themselves will be godlike, blissfully innocent in the creative sport of becoming existence, freely marching to their own individual wills, seeking a community based on individual differences, and enjoying the vicissitudes and machinations of human life, including the spirit of gravity, in good cheer (TSZ 215).

In either case, the arrival of man — as distinguished from merely his carcass — necessarily involved a creative act and a power outside the realm of material nature where scientific knowledge is sovereign.

The man Jesus was not Christ nor was he the agent that brought creative communion to such dominance that it has become for us the revelation of God in human life.

It must be stressed, however, that it is not necessary to refute Darwinism on scientific grounds in order to maintain the religious truth claims expressed in the biblical account of history: e.g., God's sovereignty and creative initiative, man's free will, his unique dignity in the universe, and his supernatural end.

While it is conceivable that the physical being of man might have developed through evolution, according to physical laws charted and explained by science, it is not conceivable that man in his total being could exist without a creative act by some transcendent agency, the God of the Bible being the prime suspect.

But unlike man's experiences which when experienced perish, God's unified feeling is always immediate, never perishing, even as it is always moving forward in a creative advance into novelty.

The answer to this must be in any Christian view that agape both in God and in man intends the Kingdom of God, that is, the bringing of all things to creative dynamic harmony under the sovereign rule of God.

But if our thesis that the work of redemption includes a work of creation in which human creative effort shares is valid, then this radical separation between the divine love and man's works of love must be shown to be a distortion of the fact.

If we think of incarnation primarily in terms of the actualization of the divine creative purpose creating that which takes us beyond man, we may be tempted to reply affirmatively.

6 The utopian element appears where men believe in the creative eruption of forces which are capable of meeting the new demands of life.