Sentences with phrase «historical lives of communities»

Not exact matches

Delaware offers a high quality of life, with beautiful beaches, parks, scenic farmland, a vibrant arts community and a rich cultural and historical heritage.

This would assume an «imaginative,» not a historical, disposition: a divine intent in history, God - gifted immutable laws of morality, to which man has a duty to conform; order as a first requirement of good governance, achieved best by a restraint and respect for custom and tradition; variety as more desirable than systematic uniformity and liberty more desirable than equality; the honor and duty of a good life in a good community as taking precedence over individual desire; an embrace of a skepticism toward reason and abstract principle.

His explanation of Kant's interest in moral community and the relation of historical and social affairs nicely complements an account of Kant's view of the role of God in the moral life.

As Evangelicals and Catholics fully committed to our respective heritages, we affirm together the coinherence of Scripture and tradition: tradition is not a second source of revelation alongside the Bible but must ever be corrected and informed by it, and Scripture itself is not understood in a vacuum apart from the historical existence and life of the community of faith.

In a word, just as the earliest Christian community rested back firmly and surely on the historical reality of Jesus, so there has never been a time in the subsequent history of the church, regardless of how ideally Jesus may have been conceived, when a demonstration of his merely mythical character would not have struck at the foundations of its life.

The Christian message of Salvation in Christ in its total eschatological framework (with which Col. 3 begins) should be kept in intimate relation to the historical mission of promoting koinonia in both the churchly sacramental and pluralistically secular dimensions of community life in the modern world.

I argued that the humanity of the Crucified Jesus as the foretaste and criterion of being truly human, would be a much better and more understandable and acceptable Christian contribution to common inter-religious-ideological search for world community because the movements of renaissance in most religions and rethinking in most secular ideologies were the results of the impact of what we know of the life and death of the historical person of Jesus or of human values from it.

of the cosmic and historical process which has brought forth human life on earth (paraphrasing Job): «Though it slay us — as individuals, even as whole communities — yet will we trust in it.»

Christianity is, through and through, a historical religion, and except for the coming of Jesus Christ into the world, his life, his teachings, his death and resurrection, and the establishment of the Church as the community of his followers, we should have neither Christianity nor New Testament.

It is also necessary to insist that any pattern of development for the tribals and others who still have cultures and communities predominantly based on the primal vision of undifferentiated unity, world - as - nature and cosmic spirituality, should introduce differentiation and individuality, historical dynamism and secularism gradually and without violently tearing down but grafting on to the stabilities of traditional spirit and patterns of life and living followed by them In fact from my experience, I have found that modernized educated tribal leaders are the worst offenders in this respect.

One must attack (or defend) Christian faith where it may actually be found, not in the mind as an idea but as a form of life realized in the historical community established by Jesus Christ.

For Mark's «theological idea» was not so much the present reality of the divine person, the exalted Lord of his community, nor yet was it the glorious and unique historical person, Jesus of Nazareth, but the mysterious, half - divine, apocalyptic «Son of Man» who had lived incognito upon earth, died, and risen again.

In the following three chapters I will analyse a paradigm as «a tradition embodied in historical exemplars» and show how it dominates the patterns of life and thought of a scientific or a religious community.

Only where historical developments have led to a degeneration in the life of the fellowship, and hence to a weakening of this feeling, will there be a rationalistic or mystic or spiritualist protest against the actual manifestation, or against the very idea of a communion and community in religion.

Christianity does not ignore the vision of a redeemed political order but it sets all political hopes in a perspective which relates each person and each historical fact to the ultimate community of all life with God.

These symbols are rooted in historical circumstance, not human contrivance; they are «born,» «live,» and «die» within the life of the communities shaped by them.

The decisive ground of our faith that that purpose exists is the historical revelation, which began with the calling of Israel and culminated in the great event — the life and death and rising again of Jesus and the coming into being of the community of Christ the Lord.

I mean by «the Christian church» a particular type of community, a distinctive kind of human fellowship, an easily recognizable spiritual movement within our total historical life.

A common view of how adoptionism became incarnationism is that the moment of «adoption,» which was originally the resurrection, was, as the early communities reflected on the meaning of Jesus, moved forward into the historical life, and there pushed to an earlier and earlier point — from transfiguration, to baptism, to birth — until finally it was pushed out of the earthly life entirely and Jesus was conceived of as having been the Son of God before his birth.

The clue to the interpretation of whatever intimations of the divine are given us in our common life is provided by the first century event to which we find ourselves inevitably looking back and by the historical community through which the concrete meaning of that event has been conveyed to us and in which, therefore, the event itself is in a sense perpetuated.

One can point to the emergence of a variety of critical approaches to religion in general, and to Christianity in particular, which have contributed to the breakdown of certainties: These include historical - critical and other new methods for the study of biblical texts, feminist criticism of Christian history and theology, Marxist analysis of the function of religious communities, black studies pointing to long - obscured realities, sociological and anthropological research in regard to cross-cultural religious life, and examinations of traditional teachings by non-Western scholars.

Furthermore, an inner religion that is not expressed as a way of life attenuates one's connection not only to one's contemporary community, but also to one's historical community.

The revelation of God is experienced in connection with significant historical events that take place in the life of the faith community.

«47 And third, it is through this work of reinterpreting its own traditions that Israel as a community develops a historical consciousness, thereby becoming a historical reality, if it is true, as critical scholarship suggests, that Israel did not exist as a unified entity until the amphictyonic period after the settlement of Canaan, then we can say that «by elaborating this history as a living tradition, Israel projected itself into the past as a single people, to whom occurred, as to an indivisible totality, the deliverance from Egypt, the revelation on Sinai, the wandering in the desert, the gift of the Promised Land.

Whether one looks at a Church of South India congregation in the «Harijan Wadi» of a village in Chittoor District of Andhra Pradesh, or at a New Life Pentecostal congregation in the suburbs of Mumbai, whether one looks at a Syrian Orthodox community in Chungom, Kottayam, or at a Mizo Presbyterian Church in Mission Veng in Aizwal, whether one looks at the worshipers at the Indian mass celebrated at the National Biblical Catechetical and Liturgical Centre in Bangalore, or at a newly set up Baptist congregation among former estate workers in the Andaman and Nicobar islands, one thing that would strike even the most impartial observer is the reality of hybridity, hybridity which manifests itself not only in things external, but very often in terms of attitudes, thought - processes and historical self - understanding within the overall identity discourse.

In response, I assert that what is crucial for the picture of Christ, if it is to qualify as an «historical» symbol, is not that it corresponds to the life once lived by a particular individual but that it exists, embodied in the corporate life of the Christian community, as the sacramental word by which the community is continually re-created.

Now it is clear that while this story embodies historical elements — the life and death of Jesus, his resurrection, and the continuing life of the community of faith — it also contains elements which are not historical.

Here the suggestion is that the integrity of the historical and cultural concreteness of the lives of persons and communities must be respected above all.

Nonetheless, the ecclesial communities which emerged in these historical circumstances have the right to exist and to undertake all that is necessary to meet the spiritual needs of their faithful, while seeking to live in peace with their neighbours.

Civilization is the dimension of religio - culture which, through its long process of historical cumulation and geographical expansion, constitutes the matrix of community life of the peoples; its inner, organic nexus crosses the boundaries of human communities, organizing them into a large - scale constellation.

The rich historical mission of the Church is committed to transforming lives, churches, and communities with the hope and holiness of Jesus Christ.

The decisive ground of our faith that it exists is the historical revelation, which began with the calling of Israel and culminated in the great event — the life and death and rising again of Jesus and the coming into being of the community of Christ the Lord.

«The historical mission of our times is to reinvent the human — at the species level, with critical reflection, within the community of life - systems, in a time - developmental context, by means of story and shared dream experience... The Great Work now, as we move into a new millennium, is to carry out the transition from a period of human devastation of the Earth to a period when humans would be present to the planet in a mutually beneficial manner.»

She also served the community on the Friends of Grand Island Memorial Library Board, Grand Island Historical Society, St. Stephen's Church, Grand Island School Business Alliance (GISBA), and the Grand Island Relay for Life: Survivor Tent.

Community schools today are a historical return to the notion of school as the center for communCommunity schools today are a historical return to the notion of school as the center for communitycommunity life.

Students compare a personal account of life in the Stanisławów ghetto with historical documents to deepen their understanding of the implementation of the Final Solution in one Polish community.

The purpose for a gay enclave was in response to a historical intolerance for gay lifestyles; many found it necessary to congregate as a means of living in a safe community that would allow for the exploration of the social and political dimensions of gay life.

Peopled with a memorable cast of characters, Flagg's chatty historical novel spans nearly 150 years in the life, growth and eventual decline of this small farming community in southern Missouri.

For example, you might write about the cultural background, the historical importance of Indian civilizations, and the contribution to the political life of the global community.

It is available both to the university community, which, in a sense, lives in the historical complex, and to those who, as external parties, are invited to take part in the cultural life generated here, as well as to visitors.The suggested itineraries are the result of a research plan carried out by students and teachers of the Master in Education Services for Artistic Heritage, Historical Museums and Visual Arts; for them CREA represents a possible field of reference after the education received.The e-book aims not onlyhistorical complex, and to those who, as external parties, are invited to take part in the cultural life generated here, as well as to visitors.The suggested itineraries are the result of a research plan carried out by students and teachers of the Master in Education Services for Artistic Heritage, Historical Museums and Visual Arts; for them CREA represents a possible field of reference after the education received.The e-book aims not onlyHistorical Museums and Visual Arts; for them CREA represents a possible field of reference after the education received.The e-book aims not only to bri...

Located at the confluence of the Mekong and Nam Khan rivers, Luang Prabang is known for its well - preserved French colonial architecture and Indochinese villas, monk communities and gilded temples, rich historical significance, French and Laotian cuisines, and mesmerizingly serene pace of life.

It is an honor for the Parks Conservancy to work alongside the Dipsea Race Committee and sponsors Mill Valley Recreation Department, Mill Valley Historical Society, Carey Hagglund Condy / Pacific Union Real Estate, Equator Coffees & Teas, Three Twins Ice Cream, The Hivery, Piazza D'Angelo, The Redwoods Community of Seniors, Title Nine, and Bungalow Munch to bring this historic event to life.

Curated by artists Dan Rizzie and Susan Lazarus - Reiman, the group show pays tribute to Sag Harbor and its historical ties to the whaling community through the art of artists who live in Sag Harbor or the East End at large.

His artistic diversification of subject matter, from the people of the small villages and farming communities going about their daily lives to the exquisite portraitures as well as his most recent works inspired by western historical themes and American landscapes, all reflect the sensitive dedication of this Master Artist.

Focusing on the developments of gentrification and on how community is constructed in this particular neighborhood, the feminine cinematographic gaze engages with the social and historical fabric of the urban geography, the spatial legacies of Apartheid, the class and gender based diversity of life experience and the current transformations in Jeppestown.

These days, the art community is working around the clock to fill in the various lacunae of the past century's art - historical record, casting an appreciative spotlight on major artists who were long marginalized because they weren't while, male, and living in Western capitals.

Whether speaking from their own life, recreating a historical memory or representing an underrepresented community, their work explores poetic and subtle ways to communicate issues of immigration, race, queerness and desire.

Drawing from the museum's historical photography collection, al - Beik contrasts his images with those of former Berlin residents, as he emphasises the fragility of life and the uncertain futures that often await vulnerable communities.

Selected Exhibitions 2009 Zenith Gallery, Washington, DC, For Real, group exhibit 2008 Zenith Gallery, Washington, DC, What Remains: The American Landscape Portfolio Edition, solo exhibit Zenith Gallery, Washington, DC, Trees of Life, 30th Anniversary Show, group exhibit 2007 Zenith Gallery, Washington, DC, What Remains: The American Landscape, solo exhibit 2006 Zenith Gallery, Washington, DC, 28th Anniversary Exhibition, group exhibit 2005 Zenith Gallery, Washington, DC, Into the Minds of Nine, group exhibit Zenith Gallery, Washington, DC, La vie quotidienne: Scenes from Paris to Provence, solo exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 22nd Annual Portrait Show 2004 Land Trust of Virginia, Middleburg, VA, Vanishing Landscapes 2004, group exhibit Parker Gallery, Washington, DC, Beyond Brittany: 1977 - 1979, group exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 21st Annual Portrait Show Zenith Gallery, Washington, DC, Zenith Style: Art & Craft for Home & Office, group exhibit Zenith Gallery, Washington, DC, This Land is Your Land, This Land is My Land, group exhibit 2003 Bermuda National Gallery, Hamilton, Bermuda, Inside & Out, House & Home, group exhibit Zenith Gallery, Washington, DC, Near and Far: Recent Landscape Paintings, solo exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 20th Annual Portrait Show 2002 Land Trust of Virginia, Middleburg, VA, Vanishing Landscapes Zenith Gallery, Washington, DC, The Dog Days of Summer Zenith Gallery, Washington, DC, New Artists... New Space, Summer Show 2002 2002 Hilligoss Galleries, Chicago, IL, Oil Painters of America, Eleventh Annual National Juried Exhibition of Traditional Oils Francesca Anderson Fine Art, Portraits North, Lexington, MA, 19th Annual Portrait Show 2001 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour Northern Virginia Fine Arts Association, Alexandria, VA, Contemporary Realism: A Survey of Washington Area Artists Zantman Art Galleries, Palm Desert, CA, Oil Painters of America, Tenth Annual National Juried Exhibition of Traditional Oils Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Francesca Anderson Fine Art, Portraits North, Lexington, MA, 18th Annual Portrait Show 2000 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour Rock Creek Gallery, Washington, DC, Studio 310 Reunion Francesca Anderson Fine Art, Portraits North, Lexington, MA, 17th Annual Portrait Show Spectrum Gallery, Washington, DC, Spectrum Plus Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Zenith Gallery, Washington, DC, Zenith Gallery at 22 1999 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour, recipient of the Steven L. Aschenbrenner Collector's Award Zenith Gallery, Washington, DC, New Works for the Millenium Francesca Anderson Fine Art, Portraits North, Lexington, MA, 16th Annual Portrait Show Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape 1998 Byrne Gallery, Middleburg, VA, Lightmotifs, solo exhibit Mystic Maritime Gallery, Mystic, CT, 19th Annual International Marine Art Exhibition Francesca Anderson Fine Art, Portraits North, Lexington, MA, 15th Annual Portrait Show Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape 1997 Arts Club of Washington, Washington DC, Luminous Journeys, solo exhibit Ballantyne & Douglass Fine Art Gallery, Cannon Beach, OR, featured artist The Artists» Museum, Washington, DC Francesca Anderson Fine Art, Portraits North, Lexington, MA, 14th Annual Portrait Show Morgan Peyton Fine Arts, Charleston, WVA, Journeys through the Virginias, solo exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit Howard / Mandville Gallery, Edmonds, WA, Paintings of the American Landscape 1996 Howard / Mandville Gallery, Kirkland, WA, Pleasures of the Garden Francesca Anderson Fine Art, Portraits North, Lexington, MA, 13th Annual Portrait Show Howard / Mandville Gallery, Edmonds, WA, 2nd Annual Paintings of the American Landscape Gallery 4, Alexandria, VA, Landscapes Cudahy Gallery, Richmond, VA, 15th Anniversary Celebration Charles County Community College, La Plata, MD, Landscapes, solo exhibit 1995 Cudahy Gallery, Richmond, VA, Landscapes 1994 Hollis Taggart Gallery, Washington, DC, Portraits Montgomery County College, Rockville, MD, George Washington Faculty Exhibit DeMatteis Gallery, Annapolis MD, The Figure Fine Arts Gallery, Georgetown University, Washington, DC, Portraiture, co-curator 1993 Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1992 Fine Arts Gallery, Georgetown University, Washington, DC, faculty exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1991 Fine Arts Gallery, Georgetown University, Washington, DC Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1989 Plum Gallery, Kensington, MD, Capital Image 1989 Cudahy Gallery, Richmond, VA, National Portrait Exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1988 Fine Arts Gallery, Georgetown University, Washington, DC, Images of Georgetown, A Bicentennial Celebration 1986 Dimock Gallery, George Washington University, Washington, DC, Alumni Juried Exhibition 1985 Gallery 4, Alexandria, VA, Washington Landscapes Plum Gallery, Kensington, MD, The Capitol Image Today 1985 The Times Journal Co., Springfield, VA, In and Around Washington 1984 St. Petersburg Historical Society, St. Petersburg, FL 1984 Dimock Gallery, George Washington University, Washington, DC, Alumni Juried Exhibition Strathmore Hall, Rockville, MD, Metro Art Fairfax County Council of the Arts, Fairfax, VA, juried exhibit curated by Michael Botwinick, director, Corcoran Gallery of Art, Washington, DC World Bank Art Society, Washington, DC 1983 Arlington Arts Center, Arlington, VA, Areawide Painting Exhibition, juried by Frederick Brandt, curator, Virginia Museum of Fine Arts, Richmond, VA American Artists Professional League, New York, NY, Juried Grand National Exhibition Twentieth Century Gallery, Williamsburg, VA

In my free time I live the rural life in Kinderhook, NY, a historical agricultural community, where I transplanted after living most of my life in Manhattan.