Sentences with phrase «lamentation does»

This romantic lamentation does not have a place in this speech.

April 16, 2012 at 11:26 am Disgruntledness becoming the unrighteousness renditionings of verboseness and in rancidities» lamentations do the dogs waggle and waddle upon dribblings of their ownliness fruits!

Not exact matches

(Revelation 6:10) The writer of Lamentations, bewailing the miserable estate of desolated Zion, cried, «Do unto them, as thou hast done unto me»; (Lamentations 1:22) Nehemiah, rebuilding the walls of Jerusalem, besought Yahweh against his foes, «Cover not their iniquity, and let not their sin be blotted out from before thee»; (Nehemiah 4:5) and in the Psalter are outbursts of vindictiveness the singing of which in the second temple seems scarcely credible:

Over and over in the Old Testament God says He does not take pleasure in the punishment of the wicked (Ezekiel 18:23, Lamentations 3:32 - 33).

I find that many commentators of Psalms of Lamentations follow Westermann in affirming that an overly Pauline - oriented theology in terms only of sin does not take seriously the implication of relating the story of the Passion of Jesus in terms of the lament of Ps.

When you do look at references to cannibalism in the Old Testament, you can infer from the context of Deuteronomy 28:53 - 57, Leviticus 26:29, 2 Kings 6:26 - 29 and Jeremiah 19:9, Ezekiel 5:10, and Lamentations 4:10 that just as much as now people at time understood it to be an act of desperation, but it is never explicitly forbidden by God.

And at this climax, Lamentations embraces words that have continued to bring incalculable solace to persons in all branches of biblical faith in all time: Yahweh will not cast off for ever, but, though he cause grief, he will have compassion according to the abundance of his steadfast love (hesed); for he does not willingly afflict or grieve the sons of men.

They do not have real life, which is full of tears, lamentation, and «HAN» (a deep sense of justice rising in people's hearts, when they are wronged in history), as well as joy and happiness.

(btw, did we not hear exactly these lamentations for weeks, as in we are doomed and H. Walker 2.0 and we won't be able to afford ANYBODY ELSE?)

How refreshing, after Charles Barkley's narcissistic posturing a few issues ago, to read of Brown's obviously genuine dedication to the plight of inner - city black youth and his lamentations that today's megarich black athletes show so little real interest in doing anything about it.

Concentrate on doing your job a bit better and spare us the constant stream of post match Lamentations (I know busine $ $ dictates a constant stream of useless drivel).

This lamentation however will do little to convince Ghanaians that he has the mettle to deal with obvious wrongdoing in his party and government.

The story for this sequel doesn't make a lick of sense, of course, but this sleight - of - hand movie is all about the smoke and mirrors, and it doesn't pretend to be anything else, except when it's delivering a few hollow lamentations about income inequality.

(1943), Rancho Notorious (1952), Fritz Lang Happy Birthday (2010), Animals Moving to the Sound of Drums (2013), A Set of Miniatures (2014), Apologies Towards the Inevitable (2015), Jonathan Schwartz He Stands in the Desert Counting the Seconds of His Life (Jonas Mekas, 1986) Heaven Can Wait (Ernst Lubitsch, 1943) Heads and Tales (Francis Conrad, 1968) Histoire de ma vie racontée par mes photographies (Boris Lehman, 1994 - 2001) Histoires d'Amérique (1989), No Home Movie (2015), Chantal Akerman Home Movie, autour du «Lit de la vierge» (Frédéric Pardo, 1968) Horden Beach (1977), after the music... (1979), Cornish Winter Reads and Skies (1980 - 90), Journeys (1981), Time at Night (1982 - 83), Passage (1982 - 83), Self - Portrait (1983), Deptford Creek (1984), Looking in and out (A Winter Diary)(1984 - 86), Valletta (1985), Winter into Spring (1985), Sanday (1986 - 88), Views from a City (1991 - 93), Bureau de Change (1992), Trissákia (1994), Tessa's Table (1995 - 96), Borough Market (1995 - 96), Variations (1997), Three Short Films (1998 - 99), Tidemills (2003), Winter Woods (2005), Across the Valley (2006), Loops (2006/07), Trissákia 2 (2007), Momente (2008), Four Silent Films (2009), Where the Arun Meets the Sea (2009), Loutra: Baths (2010), Square and Mountain (2010), Dark Garden (2011), Temple of Apollo, An Afternoon, At Pont du Tarn (2012), Trissákia 3 (2013), Three Little Pieces (2014), Nick Collins In the Stone House (Jerome Hiler, 2012) In Rom (2015), Maschile - Roma (2015), Frield von Gröller Io sono un autarchico (1976), Bianca (1984), La messa é finita (1985), Nanni Moretti Je t» aime, je t» aime (Alain Resnais, 1968) John From (João Nicolau, 2015) Kommunisten (2014), L'Aquarium et la Nation (2015), Jean - Marie Straub La Nuit claire (Marcel Hanoun, 1979) Lamentations: A Monument to the Dead World.

But particularly: Trop tôt, trop tard (Too Early, Too Late; Danièle Huillet & Jean - Marie Straub, 1981) Othon a.k.a. Eyes Do Not Want to Close at All Times or Perhaps One Day Rome Will Permit Herself to Choose in Her Turn (Danièle Huillet & Jean - Marie Straub, 1969) Der Tod des Empedokles (The Death of Empedocles, Danièle Huillet & Jean - Marie Straub, 1987) Antigone (Danièle Huillet & Jean - Marie Straub, 1991) Quei loro incontri (These Encounters of Theirs, Danièle Huillet & Jean - Marie Straub, 2005) Schwarze Sünde (Black Sin, Danièle Huillet & Jean - Marie Straub, 1989) Bruce Elder's mammoth Lamentations: A Monument for the Dead World (R. Bruce Elder, 1985) Pixillation (Anne Charlotte Robertson, 1976) Florence (Erkki Kurenniemi, 1970) Wavelength (Michael Snow, 1967) La Région Centrale (Michael Snow, 1971) So Is This (Michael Snow, 1982) Passion (Jean - Luc Godard, 1982) Red River (Howard Hawks, 1948) Ride Lonesome (Budd Boetticher, 1959) Silver Lode (Allan Dwan, 1954) Bakit Dilaw Ang Gitna ang Kulay ng Bahaghari (Why Is Yellow the Middle of the Rainbow?

She does so through lamentation, an original, often public, performative, and collaborative form of her art.»

I've never thought of Ellsworth Kelly's hard - edged abstractions as having much to do with the clumsy upside - down figures of the German Neo-Expressionist Georg Baselitz, but the colors and diagonals of Kelly's Green Black (1958) and Baselitz's The Lamentation (1983) parallel each other enough that the pairing grew on me.