Sentences with phrase «modern view of man»

What is the modern view of man's responsibility?

Niebuhr said that the modern view of man has produced these four areas of difficulty because it offers too simple a solution to man's dialectical nature.

I am thus able to reconcile my view of God with the modern view of man as his historicity.

Both ancient and modern views of man create problems for themselves because of their limited viewpoints.

Not exact matches

Show me the modern textbooks that present «Nebraska Man» as a hominid fossil, show me or admit once and for all that you creationists often simply lie to try to support your point of view.

One understanding of human nature common to the modern era sees man as standing both above and outside nature (after Descartes, as a sort disembodied rational being), and nature itself as raw material — sometimes more pliable, sometimes less — for furthering human ambition (an instrumentalist post — Francis Bacon view of nature as a reality not simply to be understood but to be «conquered» and used to satisfy human desires).

11 Altizer contends that the modern man of faith must say Yes to the most illogical of all views of the world: Nietzsche's Eternal Recurrence.

He contends that his view is «non-Gnostic because a truly modern dialectical form of faith would meet the actual historical destiny of contemporary man while yet transforming his unique Existenz into the purity of eschatological faith.

Modern Biblical scholarship has been able to show that this view of man is almost wholly foreign to the Old Testament and plays very little part in the New Testament.

In contrast to people in biblical times «modern man acknowledges as reality only such phenomena or events as are comprehensible within the framework of the rational order of the universe... the thinking of modem men is really shaped by the scientific world - view, and.

There are many mysterious things about the modern world, but the biggest mystery of all is how «the sexual revolution» is viewed as some sort of feminist triumph, when the objective truth is that if the most despicable, cretinous, woman - loathing men of a century ago had outlined their....

He offered a forceful «Christian» view of man, comparing this view with others that fail to take into account all the facts of human existence — Greek classical views in the ancient world, and naturalism in the modern world.

Carl R. Rogers, a justly famous modern psychologist, said that Niebuhr's contention that man is primarily the victim of self - love can be maintained only if one views individuals on the most superficial or external basis.

Of all the views of man and his purpose that were expressed in the ancient world, that of ancient Israel most nearly conforms to the modern knowledge of the human conditioOf all the views of man and his purpose that were expressed in the ancient world, that of ancient Israel most nearly conforms to the modern knowledge of the human conditioof man and his purpose that were expressed in the ancient world, that of ancient Israel most nearly conforms to the modern knowledge of the human conditioof ancient Israel most nearly conforms to the modern knowledge of the human conditioof the human condition.

Can Christian preaching expect modern man to accept the mythical view of the world as true?

To this extent the kerygma is incredible to modern man, for he is convinced that the mythical view of the world is obsolete.

All this is undeniably mythological, and Bultmann thinks it is senseless and impracticable to foist this mythical view of the world on modern man, whose thinking is «shaped for good or ill by modern science».

The inequality of laws concerning punishment of suspicion of adultery, the pervasiveness of polygamy, the fact that women were viewed as property, the lesser value ascribed to baby girls, and the suggestion that women are more easily deceived than men are all striking problems for modern readers... and as Christians we should not underestimate the impact they may have on unbelieving seekers.

Both views hold that modern man has committed himself to an inadequate mode of understanding the world.

Both views inveigh against empiricism, Newtonian science, and sensationalism, which seem to have such a hypnotic grip on the mind of modern man.

He also rejects the views of those who say that God is beyond the capacity of human expression or that modern man is incapable of believing in God.

I have a high view of Scripture too, but that is NOT the same as claiming that the 66 - book anthology of ancient writings selected and assembled centuries later by men with political agendas («picking and choosing» the scriptures they liked and omitting others BTW) that we moderns call The Protestant Canon is without error.

Perhaps modern man does not have the same view of «sin» as did Iron Age sheep mounters

This is the point at which such men as Northrop, Whitehead, and Hartshorne may be helpful to some, for not only have they laid a foundation for belief in God as real and existing, but they have done so within the framework of a modern world view.

Show me the modern textbooks that present «Nebraska Man» as a hominid fossil, show me or admit once and for all that you creationists often simply lie to try to support your point of view... I'm serious.

Also, it is clear that, theories and world views apart, the modern situation continues to pose ethical problems of great gravity — but that is not quite the same as what the dialogue with «modern man» was to be about.

In sum, even though he was absorbed by the spiritual crisis of modern man — a crisis he traced back to the ancient gnostic movement — it can hardly be said that he viewed history in a Christian fashion, that is, as a drama of sin and redemption.

Several of the men described are keen to embrace all that suits them of modern, Western culture, yet continue to cling onto outdated views on women that merely stand as an excuse for the expression of their libido.

An individual needs to be considered physically, psychologically, and spiritually, with the intent of gaining as much understanding as possible about this relationship with his total environment... Modern medicine has tended to view man as a machine with interchangeable parts, and has developed sophisticated procedures for repairing, removing, or artificially constructing these parts.

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Under the Skin tells the story of an alien seductress, prowling the streets of modern - day Glasgow seeking out vulnerable, lonely young men with a view to harvesting them for an unseen, unaddressed alien corporation for whom she presumably works.

We watched «The Parallax View» and «All The President's Men» and, without being too self - conscious about it, we tried to approach the images with a sense of a modern palette on some level.

Revisionist westerns in the modern age take a much darker view of the «white man's» participation in the migration out west than the earlier westerns did.

The film is dated to modern eyes, and the struggles each of the men deal with are certainly subdued and edited for family viewing (and therefore, not very realistic), but the simple fact that a film focused on these problems before any other film had done so is something quite extraordinary.

2016 — Bohrer, Ashley, The Commodified Built Environment, Red Wedge, August 2015 — Derrick, Andy, Friday Feature, Matthew Woodward, ArtSquare, December Hartigan, Phillip, Seeing the Art For the Trees, Hyperallergic, August Daignault, Kristina, With Matthew Woodward, Inside the Artists» Kitchen, May 2014 — Hartigan, Phillip A, Expo Chicago Fails to Inspire, Hyperallergic, October, Obaro, Tomi, What I'm Doing This Weekend, Matthew Woodward, Chicago Magazine, October Juarez, Frank Art365, Matthew Woodward, May Hildwine, Jeriah, Matthew Woodward, Review, ArtPulse Magazine, April 2013 — Hall, Sarah Elise, Art - Rated, Matthew Woodward, Interview, November Klein, Paul, Art Letter, The Huffington Post, October Sherman, Whitney, Playing With Sketches, Rockport Publishing, October 2012 — Meuller, Rachel, Meticulous Chaos, Be Nice Art Friends, July Taskaporan, Erol, Matthew Woodward, Interview, Neo Collective, July Gumbs, Melissa, View From the Birth Day at the Chicago Cultural Center, Examiner, July Amir, Matthew Woodward's Decaying Drawings, Beautiful / Decay, May Dluzen, Robin, Catalogs of Anonymous Forms, Chicago Art Magazine, April Debat, Don, Unveiling the Unique, Chicago Sun Times, March Mutts, Lost at E Minor, New Art, January 2011 — Vora, Manish, Iconomancy: The Magic of Art, Art Log, November Pocaro, Alan, Keeping Your Balance in the Windy City, Art Critical, October Hausslein, Allison, Fanmail, Dailyserving, November Marszalek, Norbert, One Question, Neotericart, October New American Paintings, Number 95, Midwest Edition, June Cook, Greg, Contained at BCA, The New England Journal of Aesthetic Research, April James, Damian, More Than a Whisper in the Ear, Bad at Sports, January 2010 — Blau, Lilly, Love and Real Estate, The Huffington Post, November Himebauch, Adam, Matthew Woodward, Veoba Magazine, November Pitts, Johnathan, Look What They Found, Baltimore Sun, July Duquette, Laura, Featured Artist, Artery Magazine, May Duquette, Laura, How WNY Has Influenced His Work, Buffalo Rising Magazine, May Pocaro, Alan, Selections From the INDA 5, Aeqai, April Franz, Jason, International Drawing Annual 5, Manifest Gallery, March Solamo Tony, Barrington Hills Courier - Review, January Barber, John, Medium Magazine, Outside Infinity, February Avedesian, Alexi, Vellum Magazine, Spirits, January 2009 — Reed, Marliana, Invisible City Magazine, Issue 6, November Lacy, Rebecca, MuseMemo Magazine, Hauntingly Beautiful, October Abram, A, Spillspace Magazine, All the Wild Horses, September Kohn, Iliana, Lost At E Minor Magazine, Issue 244, 245, August Tremblay, Brenda, Finger - Lakes Explores Connections, Mysteries, WXXI, P.R, August Low, Stuart, Drawing Together Man and Nature, Democrat and Chronicle, August Wheeler, Dan, Upstate Artists Exhibit in Exclusive MAG Show, MPN Now, July Rafferty, Rebecca, The Elephant in the Room, City Newspaper, July 2008 — O'Sullivan, Michael, Modern or Retro?

Also on view will be prints from a series called THE ROMANCE INDUSTRY, a haunting pictorial investigation into the modern day area around Venice, a solemn rumination, incorporating elements of man's indifference and nature's response.

With five current exhibitions on view (two permanents and three temporary), is a museological space of reference in Lisbon, where the visitor can enjoy the best of modern and contemporary art, hosting the Berardo Collection with its more than 70 artistic tendencies and more than 900 works that demonstrates its strong museological and didactic nature, with works by artists like Marcel Duchamp, Pablo Picasso, Salvador Dalí, Joan Miró, Man Ray, Andy Warhol, Francis Bacon, Jackson Pollock, Gerhard Richter, James Rosenquist, Alexander Calder, Jean Dubuffet, Yves Klein, Maria Helena Vieira da Silva, Helena Almeida, Louise Bourgeois, Dan Flavin, Andreas Gursky, Nan Goldin, Rebecca Horn, Donald Judd, Anish Kapoor, Jeff Koons, Nam June Paik, Frank Stella, Bill Viola, among many others.

< EXHIBITION «Black Pope (Sandwich Board Man)» by Charles White (1918 - 1979) goes on view at the Museum of Modern Art in New York on Oct. 7.

It's a re-creation of a landmark exhibition with a longer title, «New Topographics: Photographs of a Man - Altered Landscape,» organized in 1975 by the George Eastman House International Museum of Photography & Film in Rochester, N.Y. Eastman House and the Center for Creative Photography have co-organized a new version of the show, currently on view in Rochester and scheduled to travel to the San Francisco Museum of Modern Art and five European institutions after its stop in Los Angeles.

Weiblichkeit im Surrealismus, Kunsthalle Bielefeld, Bielefeld, Germany The Promisse of Photography, Schim Kunsthalle, Frankfurt, Germany Collaboration with Parkett, 1984 to Now, The Museum of Modern Art, NYC, NY, USA Audit, Casino Luxembourg, Luxembourg 24 h International Biennale of Graphic Arts, Ljubljana, Slovenia World Without End: Aspects of 20th Century Photography, Art Gallery of New South Wales, Sydney, Australia Melodrama, Tate Gallery, Liverpool, UK Trauma, Hayward Gallery in collaboration with Dundee Contemporary Arts, London, UK Australian Art and Society 1901 - 2001, National Gallery of Australia, Australia 2000 12th Biennale of Sydney, Art Gallery of New South Wales, Sydney, Australia Deep Distance - Die Entfiernung der Fotografie, Kunsthalle Basel, Switzerland Veronica's Revenge, Contemporary Perspectives on Photography, Museum of Contemporary Art, Sydney, Australia Photography Now, Contemporary Art Center, New Orleans, USA Flight Patterns, Museum for Conternporary Art, Los Angeles, USA Behind ihe Scenes, The Museum of Contemporay Photography, Chicago, USA Presumed Innocent, capc Musée d'Art contemporain de Bordeaux, France Artist Films, Kunstverein München, Munich, Germany 1999 Konstruksjon eller virkelighet, Lillehammer Kunstmuseurn, Lillenhammer, Norway La Casa, il Corpo, Il Cuore, Museum für Moderne Kunst, Stiftung Kunst, Vienna, Austria Wohin kein Auge reicht, Deichtorhallen, Hamburg, Germany Das Versprechen der Photographie (The Promise ofPholography), Selections from the DG Bank Collection, PS 1 Contemporary Art Centre, New York Kunstwelten im Dialog, Museum Ludwig, Köln, Germany Nuevas Visiones, Nuevas Pasiones, Fundación Marcelino Botin, Santander, Spain 1998 Family Viewing, Museum of Contemporary Art, Los Angeles, USA Portraits, Paul Morris Gallery, New York, USA Echolot, Museum Fridericianum, Kassel, Germany Die Nerven enden an den Fingerspitzen, Die Sammlungen Wilhelm Schurmann, Kunsthaus Hamburg, Germany Strange Days: Guinness Contemporary Art Exhibition, Art Gallery of New South Wales, Sydney, Australia Nature of Man, Lund Konsthall, Lund, Sweden «Roteiros» x 7 XXVI Bienal de São Paulo, São Paulo, Brazil Life is a bitch, De Appel Foundation, Amsterdam, Netherlands Pusan International Contemporary Art Festival, Pusan, Korea Fleeting Portraits, Neue Gesellschaft für bildende Kunst, Berlin, Germany 1997 Venice Biennale, Venice, Italy Site Santa Fe, Santa Fe, New Mexico, USA 1996 Fundacao Bienal de São Paula, São Paulo, Brazil» Campo 6», The Spiral Village, Museum of Modem Art, Torino, Italy Jurassic Technologies Revenant, 10 th Biennale of Sydney, Australia Prospect 96, Schirn Kunsthalle, Frankfurt, Germany 1995 Antipodean Currents, The Guggenheim Museum (Soho), New York, USA»95 Kwangiu Biennale, Kwangju, Korea

In many ways this was the most exciting period of modern art, when everything was still possible and when the «machine» was still viewed exclusively as a friend of man.

La Jolla Vista View, The Stuart Collection, University of San Diego, La Jolla, CA Pace / MacGill Gallery, New York William Wegman: Polaroids and Videos, San Francisco Museum of Modern Art, San Francisco Thomas Soloman's Garage, Los Angeles William Wegman New Paintings Holly Solomon Gallery, New York Fraenkel Gallery, San Francisco Dart Gallery, Chicago William Wegman, Photographs, G.H. Dalsheimer Gallery, Baltimore, MD William Wegman, Man Ray Commemorative Prints, Solo Gallery, New York

The San Francisco Museum of Modern Art (SFMOMA) is pleased to present New Topographics: Photographs of a Man - Altered Landscape, on view from July 17 to October 3, 2010.

I have come to appreciate the limitations of the scientific method and the arrogance that comes with it... It's the arrogance of modern man to think that we, viewing the world through our tiny windows of science, can control, dominate and direct the natural world.