Sentences with phrase «in creative»

All the works of man [sic] have their origin in creative fantasy....

Nevertheless, European Catholics did not give conspicuous leadership in a creative response.

The «proportionality» between consciousness and the durations of matter outlined in Matter and Memory is thus retained in Creative Evolution.

Such a program will be of mutual benefit to the local churches and the mental health center in a local community, for it will mobilize the clergy and the resources of the religious community in a creative partnership of community service and improved health.

My table of ultimate contrasts (in Creative Synthesis and Philosophic Method) is supposed to throw light on the matter.

But this time around I feel buoyed by the fact that I'm working with a great group of people at Thomas Nelson and I've never believed in a creative project more than I believe in Searching for Sunday.

To be actualized is presumably somehow to be in the creative process, that is, to be produced.

But God's being «defined as eternal» does not rule out that he might be one of the conceivable products in the creative process, namely, as self - producing.

Within it there were obligations and responsibilities as well as joys; all were centered in the creative act of God and the blessing of God upon the union formed under his sight and in his name.

Creativity The post-conciliar popes were not just interested in the final artistic product but in the creative act itself.

«The Aesthetic Matrix of Value,» in Creative Synthesis and Philosophic Method.

My gifts and training are in creative writing.

Books, Kermode observes, «are indeed world models,» but they are also science models, and so in the best of them we find not pre-fascist prescriptions for a unity beyond entropy but demonstrations of the order that can be achieved in a creative confrontation with it.

If, as we shall be arguing in a moment, we may be sure of «objective immortality», the taking into God's life of every good that has been achieved in the creative process; and if, as that understanding of the world order implies, one of the goods is the agency by which these given goods have been achieved, including at this point the human agent as a peculiarly significant focus — may it not be the case that not only the good which has been achieved but the agent who has achieved it (himself good, despite defect and the instances of his failure in this mortal existence) will be preserved beyond the «perishing of occasions»?

I wanted to challenge the idea that «biblical womanhood» could be reduced to a list of roles and rules, and I wanted to do it in a creative, disarming way.

It is especially important for women who are becoming aware of their anger to seek out opportunities to be with other women of like mind, because being together helps them to deal with the anger and to find ways of implementing it in creative channels.

All things, as St. Paul says in another place, are somehow of God, for God, to God, «whether they be things in earth or things in heaven»; and the «heaven» need not be seen as a «beyond» which is not also in the world in its travail, moving as it is in creative advance under and in God who is love.

Anything not received, anything that is negatively prehended, is utterly use-less; it is «cast as rubbish to the void», in Tennyson's words, because it can make no contribution to the abiding good and its implementation in the creative advance.

Beyond the issue of sexual orientation, it's a lifestyle worth living, expressing oneself in creative and pastoral skills.

But from a wider point of view symbols are cosmic events which play an indispensable role in the creative advance of the universe.

The progress involved in this creative work of the Hebrew conscience was one of the supreme contributions to human life which the Old Testament records.

It points to Him as love faithfully and everlastingly at work, as it recognizes that He will use whatever good He receives, along with His own urgent desire for good, in furthering the expression of love in the creative advance which is the world.

And it will be recalled that although «God's purpose in the creative advance is the evocation of intensities» (PR 161), men, as free, are alone able to create this advance.

There is produced a consequent loss to the social environment since evil is unstable and does not have important or lasting positive effectiveness in the creative advance.

This general line of thought have been developed more fully in a creative article by T. Nobuhara, «How Can Principles be More than Just Epistemological or Conceptual?

the program would afford an unparalleled opportunity to dramatize the interest of the Christian Church in the creative process in the arts, would encourage the production of films and programs of the highest standards, would give public support to those individuals in the film and broadcast industries who are striving to lift the general level of production, would present the Church in a positive rather than a negative stance in relation to these media, and would provide the opportunity for the Church in general and the B.F.C. and its members in particular to enter into significant conversations with the entertainment industry on standards, values, and goals.

In Creative Intuition, Jacques Maritain quotes Wilde's aphorism while drawing a distinction between artistic skill and the virtue of prudence.

How to keep the conflict in any struggle for social justice and for giving love in creative tension?

«Creativity» is not generic with respect to every entity that Whitehead discriminates, It does not generically characterize «eternal objects,» even though they are said to take part in the creative advance and are essential to it, They are not «actual» and are not in creation themselves.

(4) The counselor should describe the meaning of «releasing» and help her work though the feelings of guilt and inappropriate responsibility that keep her from moving in this creative direction.

Interpretation by the panel has visibly demonstrated the church's interest in the creative arts by encouraging discussion of films and by drawing attention to films that might not otherwise have been noted.

This makes sense of Hartshorne's contention in his chapter «Abstraction the Question of Nominalism,» that the novel forms emergent in a creative event are not determinate before the event but become determinate by decision in the event; to deny this is to deny any real meaning to creativity.

The shapes of a future Asian theology were seen in creative emergence at a recent conference held in Wennapura, Sri Lanka, the theme of which was «Asia's Struggle for a Full Humanity: Toward a Relevant Theology.»

In this creative advance, an object is «only an abbreviated way to note that there has been an ensemble of relationships» (N 158), in which, as he thinks Whitehead correctly argued, there is no bifurcation of primary and secondary qualities (N 158).

I have dealt with this once more in Creative Synthesis and Philosophic Method (Chapter XII).

In Creative Synthesis and Philosophic Method Charles Hartshorne demonstrates that his is among the few.1 Of course, completeness in a philosophy is relative to what the philosophy says it should contain.

The opportunity lies in the mature manpower and womanpower within each church that can be inspired, directed and put to work in the local church or in a creative neighborhood ministry.

In Creative Synthesis and Philosophical Method Charles Hartshorne writes: God «Can not absolutely conceal himself from any creature, for the omnipresent can never be more than relatively inaccessible» (CSPM 156, italics added.

The relation between the individual natural entity and the ensemble of which it is a part is entirely different in a creative agent as compared with a machine.

It means finding God in all the experiences and relationships of our lives; in our «world making»; in creative occasions of giving birth to a child, to a painting, to a poem, to a sermon, in sustaining events of eating a meal, cleaning a house, recycling our refuse, providing jobs, maintaining friendships; in experiences of judgment because of our reliance upon destructive weapons, because of our loss of integrity; and in redemptive relationships wherein we experience forgiveness, renewal, and peace.

In the creative process both are necessary.

In the creative, imaginative act of construction of reality, the interpreters, those who process the text, are dangerously engaged in two ways.

See my The Creative Advance (St. Louis: Bethany Press, 1966), pp. 125 - 28, and Hartshorne's reply in his Comment in The Creative Advance, pp. 140 - 41.

I certainly don't fit the mold and find a sense of belonging in creative environments more so than church culture as it is.

Though like I say I do find a sense of belonging in creative environments.

Even Richard Rorty, who is not a great religious mind, thinks that the success of liberal democracies lies in the creative tensions between «the agents of love» and «the agents of justice,» explained more or less in this way.

However the post-modern model of nature is highly relevant to an understanding of both the role of purposes and the role of God in the creative process.

An excellent treatment, a model of the relational vision in the creative synthesis of process and feminist thought, mythology, and depth psychology, is Keller, Catherine, From a Broken Web: Separation, Sexism, and Self (Boston: Beacon Press, 1986).

Altizer's probe of the possibility of a Catholic death - of - God theology is a real venture in creative ecumenical thinking.

We can say that, as primordial, God is the continuum of all possibilities, the treasure - house of potentiality to be applied to the creation; that, as consequent (or as affected by that creation), God is the recipient of all value of good achieved in the creative advance; and that, as superjective, God «pours back into the world» (as Whitehead once put it) that which has thus been received from it but is now harmonized within the divine life that is «the Harmony of harmonies.»