Not exact matches
I am sure it is true and that is my
point here I was commenting on the
compassion of a person, not their religion, and momoya had to reveal his / her real agenda that has not pupose here, as I was not talking religion I was talking
about compassion and the desire for one individual to help another.
As she continues to read, we hear
about Paul's incarceration and persecution,
about how Jesus is «the image of the invisible God, the firstborn over all creation,»
about watching out for all those false teachings that circulated through the trade routes,
about how we ought to stop judging each other over differences of opinion regarding religious festivals and food (I blush a little at this
point and resolved to make peace with some rather opinionated friends before the next sacred meal),
about how we should clothe ourselves with
compassion, kindness, humility, gentleness, and patience, and love,
about how we must forgive one another,
about how the things that once separated Jew from Greek and slave from free are broken down at the foot of the cross,
about how we should sing more hymns.
For Lent this year, I'm reading a heretic, as David Mills suggests (his title is provocative, but his
point is
about building
compassion among brothers and sisters in Christ across the Reformational line).
That's what I'll talk
about under
compassion and justice, of course, but it means that spirituality will be one of the two focal
points of the Christian life.
Maybe my expectations were duly lowered but director Francis Lawrence, who took over the series from filmmaker Gary Ross and raised the bar, and screenwriters Peter Craig and Danny Strong turn out a surprisingly engaging film
about rebellion, propaganda, media, and the emotional and psychological scars of war, all seen from the
point of view of a young woman (Jennifer Lawrence) who becomes a symbol of resistance simply by surviving with courage, dignity, and
compassion.
Say what you will
about Goodfellas, but Martin Scorsese (who's credited here as an executive producer) allowed his audience to discern, in that film's
pointed amorality, the
compassion that was missing from the «heroes.»
Ahmed also
points out that although stories of injustice, war, and violence are disconcerting for spectators, emotions such as grief and moral outrage function to allow these privileged Western spectators to «feel better»
about the injustices that they are witnessing through subsequent discourses of
compassion and charity.