Sentences with phrase «from ineffable»

The revelation of the word of God would make no sense apart from an ineffable dimension of reality which in revelation becomes articulate.

This marks a major shift in the meaning of death, from ineffable human destiny to legislated human right.

Not exact matches

«Therefore the Church gives thanks for each and every woman: for mothers, for sisters, for wives; for women consecrated to God in virginity; for women dedicated to the many human beings who await the gratuitous love of another person; for women who watch over the human persons in the family, which is the fundamental sign of the human community; for women who work professionally, and who at times are burdened by a great social responsibility; for «perfect» women and for «weak» women - for all women as they have come forth from the heart of God in all the beauty and richness of their femininity; as they have been embraced by his eternal love; as, together with men, they are pilgrims on this earth, which is the temporal «homeland» of all people and is transformed sometimesinto a «valley of tears»; as they assume, together with men, a common responsibility for the destiny of humanity according to daily necessities and according to that definitive destiny which the human family has in God himself, in the bosom of the ineffable Trinity.»

For others it was a transcendent and ineffable «holiness,» unrelated to the conditions and values of human life on earth, to be imitated in seclusion from the world, by a contrived and exacting discipline.

Despite this, Beckett's book remains an important survey and reminder of what in Western thought is of value, and why, and demonstrates the truth articulated by both the Second Vatican Council and Saint Julian: «Whatever has been spoken aright by any man... belongs to us Christians; for we worship and love... the Logos which is from the unbegotten and ineffable God... [and] those writers were able, through the seed of the Logos implanted inthem, to see reality darkly» (p. 51).

This is the level of legitimate desire, the seeking, the searching, the yearning for the ineffable and ultimately real, the holy God, a desire, a seeking, a searching, and a yearning that is not separate from our call to live fully, to love completely, to exist courageously.

Remember — anything from the Bible that appears contradictory, absurd or immoral is either 1) Taken out of context 2) A translation error 3) A metaphor 4) The ineffable Way of God that must be accepted on faith.

It is meet and right that we should laud thee, bless thee, praise thee, give thanks unto thee, and adore thee in all places of thy dominion: for thou art God ineffable, incomprehensible, inconceivable; thou art from everlasting and art changeless, thou, and thine Only - begotten Son, and thy Holy Spirit.

It seems to grow harder than ever to understand the anomalies of football for the moment I am not talking about that sink of iniquity which is FIFA, where at long last the ineffable Sepp Blatter, forever promising to solve the problem of which he is such a central part, has at long last agreed to release the Swiss court papers which detail how two senior FIFA executives — plainly Joao Havelange himself and Ricardo Texeira — received a huge pay off from the now defunct ISLCompany in exchange for valuable rights.

Individual scientists may benefit from the idea that they possess an ineffable quality beyond the reach of most humans, but science as a whole suffers.

The filmmaker has borrowed from Chekhov the soul - baring introspection that can be so ineffable on the page or stage yet becomes so damply sensitive and dramatically vague on screen.

Though it's been labelled as the filmmaker's most impenetrable work, I'd offer that it's a crystal - clear representation of Herzog's belief that art is first ineffable, then essential, then fickle — that the pursuit of the muse is, in a Modernist sense (and the Romanticists are the wellspring for the Modernists), the only possible solution to the schism in us separating the things of Nature from the things of Man.

by Walter Chaw In an ineffable way, Boris von Sychowski's The Pool reminds of those old Eighties television teensploitation summer camp movies starring the butch from «Facts of Life» and the fascist from «Family Ties»: poor production values enslaved to the straitjacket of rigid formula filmmaking, wrapped around G - rated titillation that at least in The Pool recognizes is the result in some part of submerged menace.

The tale is both elemental and rich, and in addition to giving a masterclass in screen acting as a patriarch at most one generation removed from peasantry, Auteuil is generous with opportunities for his fellow players, especially Astrid Bergès - Frisbey (in the title role), Kad Merad, Sabine Azéma and the ineffable Jean - Pierre Darroussin (the Inspector in Le Havre).

Its take on nature vs. man is different from The Machinist's in that it doesn't have overt references to the debilitating toll on spirituality represented by industrialization (the key to The Machinist «swoes appears to be a cigarette and an American muscle machine), more concerned as it is with the toll that man's attempts to comprehend the ineffable takes on his own ability to function, ironically, as a biological entity.

He's at the cusp of stardom, essentially, with leading - man good looks and an ineffable quality of fearless integrity that allows him to back away from the big - budget blockbusters in which he has found himself of late to take a small role in a small film, just because it's important to him.

The words that we use to describe tapping that fricative synergy (archetype, the sublime, the ineffable) are also the words that we use, to borrow a phrase from Frank Zappa, to dance about architecture — to describe what's indescribable about the collective experience, the existential electricity that ranks music above painting above poetry above literature (and film the twentieth century stepchild that falls somehow north and south of each).

The alien tongue is literal, but it's also the ineffable vagaries of human emotions and aspirations that draws from a three word phrase: «I miss you» (a deep, bitter draught of personal melancholy and longing).

Yet Ingolstadt seemed so obsessed with checking every box on what's undoubtedly an exhaustive and very important list, they forgot to build in the ineffable spirit that separates the decent cars from the great ones.

After imprisoning Harker in his castle, Dracula travels to England to seduce Jonathan's fiancée, Mina, and the battle against an ineffable evil begins.Led by philosopher and metaphysician Professor Van Helsing — Dracula's most indomitable adversary — Harker, Mina, and a band of allies unite, determined to confront and destroy the Count before he can escape.Bram Stoker ingeniously modernized gothic folklore by moving his vampire from traditional castle ruins to modern England.

The contributor's list is pretty impressive, since it includes a lot of the more prominent gaming academics, from Henry Jenkins through Edward Castronova to Jim Gee, and even sneaks in the ineffable Peter Molyneux.

Tiffany Bell and Frances Morris — the loving curators who put the London survey of her work together — include 1954's Untitled, with its Adolph Gottlieb — like shapes and a few other paintings of its kind, the better to show what it looked like as Martin moved away from the body and into drawing something more ineffable — nature, or more specifically, the cosmos at the heart of the natural world.

Hodgkin made the first of many trips to India in 1964 and a steady stream of paintings — from Coming Up From the Beach (1970 - 72) to The Sea, Goa (2013)-- and works on paper — Indian Views (1971) and Indian Leaves (1982)-- has ensued from the kaleidoscope of experiences it has offered him over time: personal encounters and visits to specific places; the seasons and times of day; and the more ineffable qualities of mood and emotion provoked by differefrom Coming Up From the Beach (1970 - 72) to The Sea, Goa (2013)-- and works on paper — Indian Views (1971) and Indian Leaves (1982)-- has ensued from the kaleidoscope of experiences it has offered him over time: personal encounters and visits to specific places; the seasons and times of day; and the more ineffable qualities of mood and emotion provoked by differeFrom the Beach (1970 - 72) to The Sea, Goa (2013)-- and works on paper — Indian Views (1971) and Indian Leaves (1982)-- has ensued from the kaleidoscope of experiences it has offered him over time: personal encounters and visits to specific places; the seasons and times of day; and the more ineffable qualities of mood and emotion provoked by differefrom the kaleidoscope of experiences it has offered him over time: personal encounters and visits to specific places; the seasons and times of day; and the more ineffable qualities of mood and emotion provoked by difference.

Through this process, Uematsu's works are imbued with an ineffable quality that transcends human intentionality and expression, a gift from the natural world.

A reading of entries from an online support site for parents who feel an uncanny and unspeakable sense of a child being missing finds a woman describing a perception of ghostliness - an ineffable, simultaneous presence and absence of a child.

From the psychedelically primordial My Forsaken Love, in which biomorphs traverse a black - fringed molten - pink ground, to the strata - like composition of Standing on the Riverbank of My Hometown I Shed Tears, a canvas filled with sedimentary layers of cell - like dots, eyes and extravagantly decorated lashes, the paintings generate new motifs and arrangements of forms while continuing a lifelong preoccupation with the mysteries of the physical and metaphysical, the tangible and ineffable - the space where seeing and feeling intersect.

Drawing from these surroundings he makes works by pushing the accumulation of layers and peeling away at the greasy surfaces to bring into relief the superficiality of these elements and render them, for a moment, ineffable.

«Its all about light» 99th ACSA Annual Meeting: WHERE DO YOU STAND Conference Proceedings 2011 «Discreet Machines of Desire: from Edward Bernays to Robert Oppenheimer» ACADIA 2010 Conference LIFE in: formation, New York, 2010 edited by Pablo Lorenzo - Eiroa Conference proceedings: «Time Promise Land: Notes on our current geographies» CÍRCULO DE BELLAS ARTES, Madrid Spain, 2010 edited by Remo Guidieri Architecture on the Way to Archetype about John Hejduk «Hejduk, Hamlet and the Ghost Promise» National Science Foundation, Making Science Visible, Conference Rhode Island School of Design / Brown University, Providence, 2010 edited by Chris Rose «Embodied Knowledge Navigating Disciplinary Geographies» «Ineffable: Architecture Computation and the In - expressible» New York, 2010 edited by Bradley Horn «Globe Double: Mimetic Capital; Technology» published by Oscar Irera Ojeda, Loft Publications.

2009, «The Polymorphic characteristics of disciplinary education» CITY COLLEGE OF NEW YORK, New York, NY 2009, «Mimetic Depth: from the Greek through the proscenium into the black box» PARSONS SCHOOL OF DESIGN, New York, NY 2009, «Drawing is thinking» CITY COLLEGE OF NEW YORK, New York, NY 2008, «Hunting Life; A Forever house» PARSONS SCHOOL OF DESIGN, New York, NY 2008, «Empathy; Material and Spatial» INSTITUTE DE RECHERCHÉ EN ARCHITECTURE, Montreal, Canada Canadian Center for Architecture / McGill University Symposium, 2007 (September) Reconciling Poetics and Ethics in Architecture: «No More Shall We Part» CITY COLLEGE OF NEW YORK, New York, NY Symposium 2007 (November) «Ineffable»; «Globe Double: Mimetic Capital; Technology», Ames, Iowa ON THE BEGINNING DESIGN STUDENT 2006 (April), Panelist.

Le Brun's move away from the wholly abstract to a representational account of the more ineffable aspects of human longing, nostalgia or pain is symptomatic of an increasing plurality of approach in the last years of the century.

Each diptych illustrates themes from Bourgeois» life or her intimate reflections, which strike the viewer as profoundly familiar yet ultimately ineffable.

Taking inspiration from the sublime abstractions of Mark Rothko and Ad Reinhardt, who each used art as a vehicle for certain concrete but ineffable feelings, Martin came to understand how geometric clarity and linearity could be used in the service of subjective emotion and spiritual resonance.

This «climate assessment report» is a conglomerate of the absolute worst promotional literature from Greenpeace, Sierra Club, and a number of other questionable entities; it is an ineffable disgrace.