Sentences with phrase «narrative traditions which»

It needed to break free from centuries old figurative and narrative traditions which celebrated idealized human form in portraiture busts and statues.

Not exact matches

Its narratives Contain many echoes of the stories in Mark and some of those which occur in Luke, and the evangelist has modified and added to the earlier traditions (his Gospel is generally agreed to be the latest of the four) in such a way as to make them the vehicle for a great body of deep religious truth.

Behind the written documents is both an ancient, oral tradition and some very particular historical circumstances and cultural phenomena which have clearly shaped the narratives.

Let us set down three observations: (a) Mark 15:40 - 16:8 possesses several features which divide it so sharply from the Passion narrative that it could hardly have been the natural continuation of that in the stage of oral tradition, (b) this pericope, however, could not have existed in its present form as an independent tradition, (c) the pericope itself falls naturally into two parts, the first of which can exist as an independent story, but the second of which can not, for it depends upon the first.

The links, which state that the women were observers from a distance at both the crucifixion and the burial, appear to be editorial additions made by a literary editor, rather than part of an original narrative from oral tradition.

In spite of the diversity in the resurrection narratives there is one important common theme which C. F. Evans draws to our attention when he says, «The one element which the traditions, in all their variety, have in common is that the appearance of the risen Lord issued in an explicit command to evangelize the world, yet the early decades of the history of the church, in so far as they are known to us, make it difficult to suppose that the apostles were aware of any such command.»

«Narrative theology» and ethicists are giving attention to the ways in which tradition informs our understanding of what we believe to be good.

The ideas on which the formula was based came out of ancient ancestral traditions; the logic of the doctrine was unassailable once the premises were granted; great prophets, such as Amos, Micah, and Jeremiah, held stoutly to it; and the formula was confirmed and solidified by the final rewriting of the Hebrew historical narratives to illustrate the thesis that every calamity in Israel's record had been a definite punishment for Israel's transgression.

Dibelius found them in the so - called «paradigm,» or example narrative in oral tradition, which can be reconstructed behind the proclamation.

As a transcript of a living community tradition, the Gospel of Mark relies not only upon the early passion narrative and the oral records of Jesus» life and teachings, some of which may already have been gathered into little collections, sequences, groups of sayings; it relies also upon the apostolic experience which supplemented and interpreted those traditions.

Such an act of Covenant - sealing appears, of course, not only at Sinai or in the narratives which make up the total Sinai tradition.

The narrative is shaped in a tradition which especially reveres the name, memory, and person of Moses.

Thus, if we use the now standard symbol of «J,» «E,» and «P» to designate the three most conspicuous narrative strands inter-woven in Exodus (as well as in Genesis and Numbers), we will think of «J» as the recording of early traditions which remained current and fluid down to the tenth century B.C., when the J - work was done by a single man (in this respect probably unique among the three primary sources).

This oral tradition formed the basis or main body of the evangelic tradition up to but not including the passion narrative; it was the common knowledge of Jesus as it circulated in Palestine during, and soon after, the lifetime of Jesus — «the report that spread all over Jewish Palestine, as you yourselves know, beginning in Galilee after «the baptism» which John preached» and continuing down to the present.

Although the name is Egyptian, a Hebrew - Israelite tradition rightly records the essence of the enduring meaning of Moses» life in a naming - narrative which associates the Egyptian name with a Hebrew word meaning to draw out.

The real myth, in other words, may be that there can be religious freedom at all in the modern state without a strong religious tradition acting both as a curb to the state's power on behalf of believers and nonbelievers alike and also as an alternative narrative within which people can work out their individual visions of the good life.

Even where his narratives are closely parallel to those in Mark and Luke it is possible to explain the verbal similarities by the dependence on a Palestinian tradition which had become largely stereotyped in form.

If the task of distinguishing the narrative sources of the fourth gospel is beset with difficulties, that of disentangling from the discourses sayings which come from the apostle, sayings which come from tradition, and the evangelist's own meditations, is even more difficult — and often quite impossible.

It is these narrative traditions that provide the material for the symbolic and mythic expressions through which we as individuals come face to face with mystery.

Perhaps the reminder is again in order that Israel's interest in the original «event» rests predominantly in its present and continuing meaning that the form of the narrative before us is unquestionably cultically conditioned, that is, shaped by the influences of cultic circles at centers of worship in which, the tradition was maintained; and that this cultic tradition returns an image of Moses formed out of long years of meditation on the total significance of his life and time through the succeeding generations of Israel's life.

Animated by Vapnyar's beguiling grace and vividness - with a narrative richness reflecting the great tradition of Russian realism to which she is a natural heir - Memoirs of a Muse is an altogether wonderful novel.

There are other examples such as The Canterbury Tales which pre-date this, but they are part of a separate tradition and are not narrative prose so discussion of those is best left for a fuller conversation on the history of story telling.

Proposals are evaluated on the basis of the following criteria, which are weighed equally: How well a project aligns with the MAP Fund's goal of supporting experimentation and innovation in all traditions and disciplines of live performance, especially work that brings insight to the issue of cultural difference, be that in class, gender, generation, race, religion, sexual orientation or other aspects of diversity The artistic strength of the proposed project The viability of the project, based on the applicant's professional capabilities as demonstrated in the project narrative, bio and artist statement, and work samples.

The artist's sumptuous application of paint and seductive layered surfaces draw the viewer into a psychologically intense narrative, in conversation with this tradition, which unfolds across the paintings presented.

Exposure to these works — with which many Chinese artists might be familiar only in reproduction or online — is seen by Tinari as a means of fostering creative dialogue between the two artistic traditions and diminishing the «time - lag» that hindered domestic art for so long after the Reform and Opening Up period that followed Mao's death in 1976, traditionally taken as the «starting point» of contemporary Chinese art (Tinari concedes that this is a useful marker, but suggests that a new generation of art historians should «complicate» such simplified narratives).

In this way, Ringgold's narrative works are a reflection of the traditions of her own family, such as sewing, which she learned from her mother, as well as of larger African American cultural traditions.

The Kabakovs are amongst the most celebrated Russian artists of their generation, widely known for their large - scale installations which draw upon the visual culture of the former Soviet Union and narrative traditions of Russian literature, often addressing universal themes such as utopia, dreams, fears and the human condition.

Martine Syms's expansive, multi-disciplinary practice, which includes film, essay, graphic design, web design, and publishing, explores representations of blackness and its relationship to narrative, black vernacular, feminist movements, and radical traditions.

Torkwase Dyson has dedicated a series of black abstract paintings to «black interiority», reclaiming traditions of abstraction and deploying them to deal with the physical spaces inhabited by black people, which are often absent from the mainstream narrative.

His wall boxes, in which elegantly crafted representations levitate in fields of softly - hued light, are situated where the screen and museum display meet ancient narrative sculpture traditions.

His paintings follow the grand traditions of Leonardo da Vinci and Michelangelo, but with new narratives in which black people are the central figures.

In the late 1960s, however, Guston made a surprising return to narrative painting — but not in the vein of the classic studio tradition in which he had trained.

«George Monbiot's latest book stands in a long tradition of back - to - nature narratives, the most famous of which is Thoreau's Walden.