Sentences with phrase «old creation»

Still, some of the new designs are derivative of older creations.

Opened to the public two years after its discovery, nobody has ever been sure just how old the creation is and who was responsible for making this shrine to the sea.

I found this glorious old creation - all chipped white paint, crackles, fogging, and wretched warmth - on Old Dixie Highway in Florida.

There are two flood stories in Genesis just as there are two creation myths, the one written by the Priestly Source in Genesis 1 and the older creation myth written by the Yahwist in Genesis 2.

Some people don't like the notion of a universe forming from quantum foam, but, instead, would much rather imagine a god forming the universe, which is why we have thousands of creation myths, including the two biblical ones, the one written by the Priestly Source in Genesis 1 and the older creation myth written by the Jahwist in Genesis 2, which borrow from older Sumerian mythology.

Nor do I understand why he criticizes William Dix for the phrase «faith believes, nor questions how,» for Farrow himself insists that the coming of the Word in the consecration is not «explicable in terms of the old creation.»

The eschatological focus, the notion that the Eucharist takes us to the heavenly places, and the belief that the Eucharist «is not explicable in terms of the old creation» are all affirmations shared by many Protestants.

Some people don't like the notion of a universe forming from quantum foam, but, instead, would much rather imagine a god forming the universe, which is why we have thousands of creation myths, including the two biblical ones, the one written by the Priestly Source in Genesis 1 and the older creation myth written by the Jahwist in Genesis 2, myths which borrow from older Sumerian mythology.

But, theologically, the world which modern man knows as «chaos» or «nothingness» is homologous with the world that eschatological faith knows as «old aeon» or «old creation» — both worlds are stripped of every fragment of positive meaning and value.

In one sense, the Jew knows a world that the Christian has never known, or never known by way of his Christian consciousness and sensibility, and that is the world which the Christian judges in faith to be old aeon or old creation.

Indeed, when the good faith of the Jew unveils the bad faith of Christian belief in God, the Christian can become more truly open to the Christ who points to the end of the old creation, the end of reality as such, and ushers in that new creation of total liberation, which no longer can even be named as reality.

Surely all of these expressions of modern dialectical thinking have an eschatological ground: a ground in an absolute negation and reversal of what apocalyptically can be named only as old aeon or old creation.

For, in the New Testament, kosmos means «old creation.»

Paul isn't much help to those who seek guidance in becoming equal under the old creation.

Earlier Christians could greet the world as the creation, as a contingent realm deriving its ultimate meaning and reality from a transcendent Creator, even though the primitive Christians looked upon the world as the old creation, an Old Aeon that even now is coming to an end.

A theology of human liberation involves more than men and women, black and white, rich and poor, working together under the old creation; it calls for growing together into the new.

Only a new Adam who is liberated from the old creation of the past can celebrate the presence of the Word in a new world that negates all previous forms of faith.

The goal is more than making the old creation work better by including women; it is, rather, preparing for the new creation in which there is neither slave nor free, male nor female.

Since women are equal with men in sin as well as in promise, they can not by their presence change the old Creation to a new one.

But this is not a radical stance; it is still tinkering with the old creation, still integrating a burning house.

On the other hand, if a Christian were to insist that Christianity affirms both the reality and the goodness of the creation, he should simply be informed that originally Christianity was an apocalyptic faith looking forward to the end of the world as the cataclysmic destruction of the «Old Aeon» or old creation, and such an apocalyptic negation of the world is inseparable from a total affirmation of the Kingdom of God.

He sent Jesus, and he made it perfectly clear what people had to do to get saved so God could destroy his old creation and make a new one.

From the perspective of the old man or the old creation, this new power is terrifying, for it demands not only a total immersion in the here and now, but also a total responsibility for the world.

So it is significant that his work in the old creation was finished on the sixth day of the week he had spent in Jerusalem (here reading the gospel chronology in the traditional way), he rested in the tomb on the seventh day, and then he rose again for the new creation on the first day of a new week.

One reason we don't see more new creation living is because few of us have died to the old creation.

Paul's understanding of atonement is derived not from the temple cult but from the interpretation of Jesus» death as the end of the old creation.

In the older creation narrative of Genesis 2:4 b - 25 this is not so; the animals stand alongside Adam.

Moreover, as I am coming to see it, it is the old creation or old aeon itself that passes into the new creation.

It is he who, even in the old creation story (Gen. 2:4 ff.)

The old creation must be destroyed.

I haven't made this recipe in a while as it's one of my older creations, but it came out so good and is just a good solid vegan meatball recipe!

«Copyright laws rewritten by major corporations to preserve income from nearly century - old creations have all but erased a generation of less famous writers and unknown works by well - known writers.»

The co-creator of The High Line revisits his old creation and draws on new inspirations for the Domino Sugar site

Japanese designer Kensaku Oshiro looked to a centuries - old creation of furniture maker Giuseppe Gaetano Descalzito when designing his latest chair.