Sentences with phrase «history of human sin»

Each death, the grandmother's, the boy's, insofar as it confronts us with pain, loss, ambiguity, suffering, etc., is the result of a whole history of human sin.

Not exact matches

God sacrificed his only son, the only innoce3nt human in history, he sufferd the shame of occupying a human body and then he lived his whole life without sin, and let himself be wrongly accused and executed that our sins may be traded and washed away by the blood of the lamb of God.

7) This god is the Judeo - Christian god 8) It made the entire Universe less than 10,000 years ago, complete with Adam and Eve and later there was a Worldwide flood and Noah and his ark is actual factual history 9) about 2,000 years ago, it impregnated a Greco - Roman Jewish virgin with itself gave birth to a human being and then had it sacrificed to itself to forgive the original sin of Adam and Eve.

Despite all this the fact remains that our stock was damaged at the beginning of human history by a real sin, and the effects of this sin are passed on to us all.

Original Sin: A Cultural History by Alan Jacobs HarperOne, 304 pages, $ 24.95 Chesterton said of original sin that it «is the only part of Christian theology that can really be proved»» by which he meant empirically demonstrated in every era, in every culture, and in every human.Sin: A Cultural History by Alan Jacobs HarperOne, 304 pages, $ 24.95 Chesterton said of original sin that it «is the only part of Christian theology that can really be proved»» by which he meant empirically demonstrated in every era, in every culture, and in every human.sin that it «is the only part of Christian theology that can really be proved»» by which he meant empirically demonstrated in every era, in every culture, and in every human....

In other words, when theologians affirm faith in the transcendent God of the scripture, they are affirming faith in the God who has acted in human history to make human beings whole and redeem them from their sins.

On page 15 of «The Interpreters Bible», Dr. Herbert F. Farmer, Professor of Divinity at Cambridge University wrote about the indispensability of the texts, their importance and how the «truth» of them should be approached, after an exposition of the traditional conservative Christian view of person - hood, sin and the salvific actions of Jesus (aka Yeshua ben Josef), known as «the Christ» in human history.

The story of the fall, told in Genesis, is to be taken as something true of each of us, not as a historical account of how sin came into the world at a specific time and place in human history.

[4] Instead of looking backward through human history to find the origin of sin in Adam and Eve's disobedience, Kierkegaard is teaching us to look inward (within ourselves) and upward (to God), to find the origin of sin in our own individual flight, in anxiety, away from our origin, God the Creator.

Kierkegaard defends himself against the apparently Pelagian implications of this thought by stressing that even though each individual sins through his own disobedience (sin is not a category of necessity), nevertheless, in this act of disobedience he reveals his solidarity with Adam and Eve and all other persons in history, who together make up the collective human race which, in Adam, stands guilty before God.

In the language of The Concept of Anxiety, she only sees the «quantitative determinations» of sinfulness in human history, without seeing the «qualitative leap into sin,» which is human evasion of God in the present moment in time.

It may well be said that the [acceptance of man] in - spite - of [his sin] character of the Christian faith, by means of prophetic criticism and the «will to transform» based upon divine justice, functions as a militant element in the realm of human society and history, whereas the just - because - of [human sin and selfishness acceptance] nature of Buddhist realization,... functions as a stabilizing element running beneath all social and historical levels.

At the present time, theologians using an evolutionary explanation of human creation and development refer to original sin as the origin of our sinful history.

Her question — why — is also in a sense God's question because God is once again forced to deal with the result of a complex, interwoven history of human failure and sin.

But even as Christians must acknowledge the full reality of human sin, continued Dawson, Christianity itself should never be identified with the rejection of history or the wholesale condemnation of culture:

First, a little history: In the 16th century Protestant and Catholic positions on justification became polarized and soon escalated to include other doctrines, including the authority of the church; scripture and tradition; good works; merit and indulgences; the mass; and sin and its effects in human life.

Another school of thought, while conceding that war is one of the most vivid revelations of sin in human history, does not find the disavowal of war so simple a matter.

How in this case man can be said to be free is one of the paradoxes which Niebuhr holds defies rational understanding.11 But if we accept the paradox, while we may say there is an ideal possibility that we could assert our human will to power in history without sinning and thus bring in the Kingdom of love, this is no actual possibility.

And consonant with the immutable position of Yahwistic prophetism, whose primary proposition is always the effective impingement of divine life upon history, the meaning of Solomon's reign and of events subsequent to it is discerned in the scheme of sin and judgment: like Babel, apostasy results in the rupture of human community.

It saw the publication of Reinhold Niebuhr's Moral Man and Immoral Society, which contains basic diagnoses of tendencies in human history that are still true: One can not escape from sin by refusing to relate oneself to movements that seek to develop the power of self - defense among the powerless.

At times God appears violent, not because He is violent, but because, just as Jesus on the cross took the sin of the world upon Himself, so also God in human history, took the violence of humanity upon Himself.

God intended equality among men; but «private property, slavery, imperialism, the State itself, appear in post-Fall society as regulations of God to preserve nature, which is always being disrupted by sin».26 Justice thus appears as the rough, necessary, coerced order of human societies which is not wholly antithetical to love, since it serves the purpose of God in the creation and history.

He shared our whole human experience, becoming the summary and summit of man's history, in order that we, seeing him, the Man Christ Jesus, might trust the Son of God not only to convict us of God's truth, of sin in us, but also to convince us of God's fuller truth, the power of salvation for us.

Now history under God's providence has reached the era of perpetual emergency, when man's age ~ old sin combined with his new technology threatens the survival of the human race.

(3) There can be no real progress toward a better world within the context of this life and human history because they are wholly bound up in sin.

We are not obliged to hold that Adam and Eve are the personal names of identifiable individuals known to history, but we must hold that the first human couple sinned and fell from grace, thereby damaging the integrity and the destiny of human nature itself, a wound which we all inherit.

Christians on the other hand are able to acknowledge failures of Christiianity throughout history, by the simple knowledge that we are humans, we sin, and sin is harmful.

When they encounter the actuality of suffering and injustice, the impurity of even the best motives, and the mutual destructiveness even of a relatively virtuous people, and when they discover also the depths of sin which erupt on a massive scale in human history from time to time, they are overwhelmed by the incongruity between what is and what, at some deep level, they feel should be the case.

In a state of original sin, in which disordered human desires manipulate and misdirect reason, how can the student of scripture know which context is the right context, which history is the right history?

Indeed, the Christian doctrine of original sin leads us to expect that sin will play an enormous role in human history, and that the church and its members are in no way exempt.

His seminary education (where «I could concentrate on critical biblical scholarship because I already knew the biblical content and narratives so well») and his later faith experiences and human encounters made it possible for him to analyze and interpret his own history in a way that has freed him to preach from the totality of that experience to the totality of human experience, encompassing as it does suffering and celebration, alienation and reconciliation, sin and redemption.

If human history has really been a history of genocide, rape and war, then that fact itself bespeaks a formidable reality of sin and fallenness.

New Directions in the Art of the Moving Image, Smithsonian Museum of American Art, Washington D.C., US Images of the Mind, Deutsches Hygiene - Museum, Dresden, DE The Art of Deceleration, Kunstmuseum Wolfsburg, DE Space Invaders, Nikolaj Kunsthal, Copenhagen, DK Jihlava Documentary Film Festival, Jihlava, CZ Celebrazione Vasariane, Firenze Arti Visive, Florence, IT Ensemble 20/21, Auditorio Nacional de Música, Madrid, ES MMK 1991 - 2011: 20 Years of the Contemporary, MMK, Frankfurt, DE Oslo Chamber Music Festival 2011 - Gamle Logen, Oslo, NO Pino Pascali: Return to Venice / Apulia Contemporary Art, Palazzo Bianchi Michiel, Venice, IT The Missing Peace: Artists Consider the Dalai Lama, San Antonio Museum of Art, Texas, US Portraits de la Pensée, Palais des Beaux - Arts de Lille, FR Paradise Lost, Istanbul Museum of Modern Art, TR The Quintet of the Unseen, Blain Southern London, UK art / tapes / 22 a Santa Teresa (1972 - 76), Forno San Ferdinando, Follonica, IT Tout ouïe, Sans Canal Fixe, Tours, FR 2011 Images and Views of Alternative Cinema, Theatro Ena, Nicosia, CY New contemporary galleries featuring the John Kaldor Family Collection, Art Gallery New South Wales, Sydney, AU The Promised Land, Staatliche Kunstsmmlungen Dresden, DE Don't Look Now, Kunstmuseum Bern, CH Figuratively Speaking: A Survey of the Human Form, Bellagio Gallery, Las Vegas, US Happy Tech: machines with a human face, Palazo Re Enzo (1/29 -2 / 13) & La Triennale / Bovisa, Milan, IT La Candela Festival 2011, Valls, ES The Unbearable Lightness of Being, Yvon Lambert Gallery, Paris, FR San Sebastian, una iconografia comtemporánea, Kubo - Kutxa, Donostia - San Sebastian, ES When Painting Moves... Something Must Be Rotten, Stenerson Museum, Oslo, NO Knock on wood: Tales from the forest, Virserums Konsthall, SE Space, Foundazione MAXXI, Rome, IT Lust and Vice: The Seven Deadly Sins from Dürer to Nauman, Zentrum Paul Klee, Bern, CH When Eve Meets Adam, Museum of Fine Arts, Strasbourg, FR A Million and One Days, Lithuanian National Gallery of Art, Vilnius, LT The Missing Peace: Artists Consider the Dalai Lama, Nobel Museum, Stockholm, SE Tong, Haeinsa Temple, Chiin - ri, KR Esplanade — The Recital Studio, SG Video, An Art, A History 1965 - 2010: A Selection from the Centre Pompidou and Singapore Art Museum Collections, SG Déserts (1994), Tokyo Symphony Orchestra, Suntory Hall, Tokyo, JP Shan Shui, Beijing Center for the Arts, CN Environmental Day, ikono.tv / MELD, Television Broadcast, Arabsat: Menasa Region, Etisalat, AE Selected works from the Centre Pompidou's New Media Collection, Herzliya Museum of Contemporary ArHuman Form, Bellagio Gallery, Las Vegas, US Happy Tech: machines with a human face, Palazo Re Enzo (1/29 -2 / 13) & La Triennale / Bovisa, Milan, IT La Candela Festival 2011, Valls, ES The Unbearable Lightness of Being, Yvon Lambert Gallery, Paris, FR San Sebastian, una iconografia comtemporánea, Kubo - Kutxa, Donostia - San Sebastian, ES When Painting Moves... Something Must Be Rotten, Stenerson Museum, Oslo, NO Knock on wood: Tales from the forest, Virserums Konsthall, SE Space, Foundazione MAXXI, Rome, IT Lust and Vice: The Seven Deadly Sins from Dürer to Nauman, Zentrum Paul Klee, Bern, CH When Eve Meets Adam, Museum of Fine Arts, Strasbourg, FR A Million and One Days, Lithuanian National Gallery of Art, Vilnius, LT The Missing Peace: Artists Consider the Dalai Lama, Nobel Museum, Stockholm, SE Tong, Haeinsa Temple, Chiin - ri, KR Esplanade — The Recital Studio, SG Video, An Art, A History 1965 - 2010: A Selection from the Centre Pompidou and Singapore Art Museum Collections, SG Déserts (1994), Tokyo Symphony Orchestra, Suntory Hall, Tokyo, JP Shan Shui, Beijing Center for the Arts, CN Environmental Day, ikono.tv / MELD, Television Broadcast, Arabsat: Menasa Region, Etisalat, AE Selected works from the Centre Pompidou's New Media Collection, Herzliya Museum of Contemporary Arhuman face, Palazo Re Enzo (1/29 -2 / 13) & La Triennale / Bovisa, Milan, IT La Candela Festival 2011, Valls, ES The Unbearable Lightness of Being, Yvon Lambert Gallery, Paris, FR San Sebastian, una iconografia comtemporánea, Kubo - Kutxa, Donostia - San Sebastian, ES When Painting Moves... Something Must Be Rotten, Stenerson Museum, Oslo, NO Knock on wood: Tales from the forest, Virserums Konsthall, SE Space, Foundazione MAXXI, Rome, IT Lust and Vice: The Seven Deadly Sins from Dürer to Nauman, Zentrum Paul Klee, Bern, CH When Eve Meets Adam, Museum of Fine Arts, Strasbourg, FR A Million and One Days, Lithuanian National Gallery of Art, Vilnius, LT The Missing Peace: Artists Consider the Dalai Lama, Nobel Museum, Stockholm, SE Tong, Haeinsa Temple, Chiin - ri, KR Esplanade — The Recital Studio, SG Video, An Art, A History 1965 - 2010: A Selection from the Centre Pompidou and Singapore Art Museum Collections, SG Déserts (1994), Tokyo Symphony Orchestra, Suntory Hall, Tokyo, JP Shan Shui, Beijing Center for the Arts, CN Environmental Day, ikono.tv / MELD, Television Broadcast, Arabsat: Menasa Region, Etisalat, AE Selected works from the Centre Pompidou's New Media Collection, Herzliya Museum of Contemporary Art, IL