Sentences with phrase «of apocalyptic imagery»

This need to transcend the trappings of apocalyptic imagery goes beyond the need for a different kind of discourse: we need a different kind of mapping to understand what's going on.

The biblical writers were fallible persons like ourselves and could have made mistakes, the more probably because current Jewish thought was full of apocalyptic imagery.

Not exact matches

The text on this plate is saturated with apocalyptic imagery; it opens with a vision of the sun and moon leading forward the «Vision of Heaven & Earth,» which is immediately followed by an apocalyptic epiphany of Jesus as the Son of Man: «And the Divine Appearance was the likeness & similitude of Los.»

In the book of Revelation, as we would expect, we have the regular idioms of Jewish apocalyptic: 11.17 has God as the subject of the verb «to reign»; 11.15 is a summary allusion to the imagery of Dan.

When we reflect that the original message of Jesus was an eschatological proclamation of the dawning of the Kingdom of God, that the patristic Church transformed this message by a dissolution and elimination of its apocalyptic ground, that, ever since, the dogmatic and ritual foundations of the orthodox Church have been non-apocalyptic, and that it has only been in the non-verbal arts that Christendom has produced an apocalyptic imagery, then on this ground alone we would be fully justified in pronouncing Blake to be a revolutionary artist and seer.

Apocalyptic literature follows the pattern of a vision in which the author receives a call to write, and then describes, with highly cryptic imagery, a series of symbolic events which predict the overthrow of evil and the triumph of righteousness.

The nature imageries of Jesus from agricultural life have also shattered the prevalent understanding of the divine rule as something that is to approach at the end time with a bang and with an apocalyptic fervor.

Yet to this prophetic or «immanental» point of view the apocalyptic passages in the Bible are a blend of first century thinking with symbolic imagery.

Jesus» proclamation of the coming kingdom of God was open - ended, although clothed in the specific apocalyptic imagery of the day.

Thus apocalyptic imagery came to characterize increasingly the expectations, until at length the sun was supposed to be darkened and the moon turned to blood before the great and terrible Day of the Lord.

7.13 exhibits a concept we may speak of a Son of man conception in Jewish apocalyptic, but it would be better to speak of an «image», and, therefore, of the varied use of «Son of man imagery» in Jewish apocalyptic and midrashic literature.

In order to make our meaning clear, and in view of the intrinsic importance of this subject, we shall offer an analysis of the use of «Son of man imagery» in Jewish apocalyptic and midrashic literature as we see it.

And sue me if I was a little bummed at a certain caution on the part of Hollywood to offer up the apocalyptic imagery it had serviced to the masses in the action - packed summers of the 1990s following 9/11.

Occasionally the artist embeds hints of apocalyptic visions in the numerical data and imagery his drawings depict.

Power Lines is a nightmarish, apocalyptic vision, combining military and industrial imagery with glimpses of an incongruous utopia in a disquiet and unnatural landscape.

http://www.o-matic.com/ Joy Garnett on Wednesday, November 28, 2012, 12:45 p.m., Myrtle Hall 4E - 3 «Painting and the Technical Image World» Joy Garnett is New York - based artist whose paintings are based on news photographs, scientific imagery, and military documents she gathers from the Internet and uses to examine the apocalyptic - sublime at the intersections of media, politics, and culture.

Contemplated from afar, a seemingly utopian and at times apocalyptic world emerges from her sceneries Inspired by the idea of a living archive, Franchy's working process is characterized by appropriation, translation, and re-interpretation of different times, imageries, and ideas.

Along with the supernatural and UFOs, Cai's work freely cites historical legends and folk myths, apocalyptic imagery and healing powers, the big bang and terrorist acts — all utilized in different ways to suspend, provoke, and challenge our habits of mind.

Song for Coal is based around the flamboyant tracery of the apocalyptic rose window of Sainte Chapelle, Paris: 152 separate panels form a rose window of film, each containing its own individual piece, creating kaleidoscopic imagery that is rich, meditative and slowly evolves through viewing coal as a mineral, economic driver and a source of iconography.

However, Zajac's interest in exploring such imagery in the 1950s and1960s was not for religious reasons, but more as a metaphor for the turbulent post-war world that feared nuclear escalation and the possibility of an apocalyptic ending.