Sentences with phrase «present apocalyptic»

But recent films all present apocalyptic scenarios, set in times that are increasingly near.

His paintings, digital photographs, installations and musical compositions refer to aspects of our past we may prefer to forget while presenting an apocalyptic vision of our not - so - distant future.

As part of his «American Icons» series, Manifest Destiny, 2003 — 4, an 8» x 24» painting at the Brooklyn Museum, presents an apocalyptic view of Brooklyn underwater as a result of the raised sea level.

Upstream Gallery presents Apocalyptic Landscapes: Visions of a post-apocalyptic world.

Not exact matches

Jeffrey, too, navigates his way from consciously lived moment to consciously lived moment, to bear up against our seemingly apocalyptic present:

On the reading I propose, the Reformation schism was brought about instead by contingent human choices in a confused historical context defined less by clear and principled theological argument (though that of course was present) than by a peculiar and distinctively sixteenth - century combination of overheated and ever - escalating polemics, cold - blooded Realpolitik, and fervid apocalyptic dreaming.

In view of the importance we attached to our discussion of the Son of man concept in ancient Jewish apocalyptic, above, we would like to point out that Colpe accepts the German contention that such a concept is to be found, but finds that the existing sources (Daniel, I Enoch, IV Ezra 13) are inadequate to present it to us.

These twin emphases of apocalyptic thought remain present in Protestantism.

No doubt the total vision promised by an apocalyptic form of faith is not yet present upon our historical horizon; for, immersed as we are in a fully profane consciousness, we would seem to have lost the very possibility of apocalyptic vision.

Furthermore, the forgiveness of sin is a universal and apocalyptic process of redemption: all those spaces separating a fallen humanity from its isolated parts must be annulled by a forward - moving process drawing the apocalyptic futurity of Jerusalem into the present moment, thereby making possible the final triumph of «The Great Humanity Divine.»

The eschatology of Jewish apocalyptic and of Gnosticism has been emancipated from its accompanying mythology, in so far as the age of salvation has already dawned for the believer and the life of the future has become a present reality.

Satan must become totally and comprehensively present in his apocalyptic form as the lifeless residue of the self - negation of God before the atonement will have become wholly actualized in history; and then, the radical apocalyptic seer assures us, Satan must undergo a final metamorphosis into an eschatological epiphany of Christ.

The very form of Christianity's original apocalyptic proclamation rests upon an expectation that the actualization of the Kingdom of God will make present not the almighty Creator, Lawgiver, and Judge, but rather a wholly new epiphany of the deity, an epiphany annihilating all that distance separating the creature from the Creator.

A revealing light can now be cast upon the problem of the distinctive meaning of an apocalyptic faith by comparing that faith — particularly as it is present in the radical Christian — with the higher religious expressions of mysticism.

If the earlier liberals were guilty of distortion in their attempt to make Jesus over in the image of a historical evolutionist, Albert Schweitzer's work made it impossible for liberal scholarship ever again to ignore the authentically apocalyptic theme which is present in Jesus» teaching.

If we allow Blake's apocalyptic vision to stand witness to a radical Christian faith, there are at least seven points from within this perspective at which we can discern the uniqueness of Christianity: (1) a realization of the centrality of the fall and of the totality of fallenness throughout the cosmos; (2) the fall in this sense can not be known as a negative or finally illusory reality, for it is a process or movement that is absolutely real while yet being paradoxically identical with the process of redemption; and this because (3) faith, in its Christian expression, must finally know the cosmos as a kenotic and historical process of the Godhead's becoming incarnate in the concrete contingency of time and space; (4) insofar as this kenotic process becomes consummated in death, Christianity must celebrate death as the path to regeneration; (5) so likewise the ultimate salvation that will be effected by the triumph of the Kingdom of God can take place only through a final cosmic reversal; (6) nevertheless, the future Eschaton that is promised by Christianity is not a repetition of the primordial beginning, but is a new and final paradise in which God will have become all in all; and (7) faith, in this apocalyptic sense, knows that God's Kingdom is already dawning, that it is present in the words and person of Jesus, and that only Jesus is the «Universal Humanity,» the final coming together of God and man.

To the spiritual or radical Christian, the very name of Jesus not only symbolizes but also makes actually present the total union of God and man, and for that reason it likewise gives witness to a concrete reversal of history, and a dawning apocalyptic transfiguration of the cosmos.

So far as the interpretation of the saying is concerned, there is general agreement that the «not with observation» denies the possibility of the usual kind of apocalyptic speculation, and the present writer claimed earlier, (N. Perrin, Kingdom, pp. 176 ff.)

The pure prophets are distinguished from the apocalyptic ones, as from the seers and diviners of other religions, by the fact that they did not wish to peep into an already certain and immutable future but were concerned only with the full grasping of the present, actual and potential.

For Mark's «theological idea» was not so much the present reality of the divine person, the exalted Lord of his community, nor yet was it the glorious and unique historical person, Jesus of Nazareth, but the mysterious, half - divine, apocalyptic «Son of Man» who had lived incognito upon earth, died, and risen again.

That is what apocalyptic is all about: God's sovereignty in spite of the present power of evil and God's final vindication of the faithful and just.

When the present state of history and culture looks unusually black, God's immediate action in it is not so clearly seen, and the apocalyptic thinker looks far into the future, finding his hope and resting place there.

This individualism has dismissed both the extrinsic and the intrinsic value of each human being in favor of material and professional indices of success that most people believe are due to luck as much as anything else (hence the increasing popularity of lotteries) Because the apocalyptic worldview of the early church has now been replaced with the desperate and meaningless finality of possible nuclear annihilation, eschatological expectations and hope for reversal of human fortunes have given way to a «present - only» scheme of refetence even in Christian theology.

Apocalyptic expectation has been used to sustain a hold over people, and to validate accommodation with the present empires of human society.

To summarize, to literalize the apocalyptic passages in the New Testament, is to run counter to all we know of astronomy and the world of space; they are tied in with the then - current Jewish eschatology and Persian dualism which saw evil in command of creation; as commonly accepted, they encourage passivity about the evils of the present world; they emphasize only one side of the message of Jesus to the exclusion of essential elements; they are grounded at least in part on a misconstruction of biblical poetry and drama.

But it may be asserted in general terms that whereas prophecy foretells a definite future which has its foundation in the present, apocalyptic directs its anticipation solely and simply to the future — to a new world - period which stands sharply contrasted with the present.

The principal paths that have been followed are an apocalyptic, cataclysmic, second coming to put an end to the present world and the prophetic or social gospel kingdom that has accented the conquest of earth's evil by human effort to increase love and justice in response to God's call.

This apocalyptic element is certainly present in the Gospels, and it was present in the gospel tradition; but it probably came in at a point early in the history of the tradition, and it grew stronger in some circles as time passed, reaching its climax in the Gospel of Matthew — only to be all but completely rejected in John!

That vision of an inimical god had been cryptically presented nearly a century earlier in the apocalyptic poetry of William Blake in his Jerusalem (1804):

He was the Christ, not because he inaugurated the kingdom in the apocalyptic sense or ever will (although it would be rash and presumptuous to affirm absolutely that he never will), but because in him the eternal kingdom of God was in a unique and unprecedented way present and active within history, was not only seen and declared supremely and unmistakably as righteousness and love, but was actually present as judgment and salvation.

But all he has really shown is that apocalyptic pluralists have wildly exaggerated the degree to which present trends are increasing religious diversity.

«Resurrection» is a term taken from the apocalyptic tradition, a [244] tradition that Jesus had more than passing familiarity with but which he persistently transformed, as we have observed — emphasizing God's present immediacy and intimacy.

It has much to commend it, for it reinterprets the apocalyptic passages without rejecting them, and it accents the present saving work of Christ.

One thing, however, is certain: with Paul as with the Fourth Gospel, the richness of present spiritual life in Christ was such that the central meanings of the apocalyptic drama tended to be conceived as already in spirit consummated for faithful believers.

Woza Albert, written and presented by two spectacularly energetic young black Africans, is a dazzling set of skits and mime that works off the single premise of Christ staging his Second Coming in South Africa; it is comic apocalyptic that sizzles with satire.

The sense of promise undergirds a wide variety of biblical challenges, e.g. apocalyptic renunciations of the «present age,» Jesus» sense of homelessness, the Gospels» message that turning our attention toward the Risen Lord requires a forfeiture of worldly security, and St. Paul's summons to realize our freedom by living without the comforts of legalism.

The notion of personal immortality arose in Hebrew culture late in the Apocalyptic period, and simply was not present earlier, when all dead souls were thought to go to Sheol, into a «dormant» state.

Likewise, an apocalyptic language that presents every presidential election as Armageddon is another kind of theological liberalism.

It is in this peculiar tension between the future and the present that Jesus introduces a novel element ultimately destructive of the apocalyptic framework within which most of the New Testament is articulated.

Apocalyptic Judaism acknowledged God's lasting, ever - present sovereignty in his lordship over Israel, but in a rather perfunctory way.

It is my present intention to turn next to an investigation of the formation of these traditions in general, using the methodology and insights developed here in the work of the apocalyptic Son of man tradition in particular.

In Judaism it found expression in that apocalyptic despair that in certain circles regarded the whole of the present created order as beyond redemption and looked for a cataclysmic irruption of God to establish a new order from which evil would be banished.

His norms in the present case, while thoroughly orthodox in relation to the general consensus, were also in some ways not far from the same German mysticism which was at work among the visionaries themselves, typical as they were of a chronic spontaneous eruption of apocalyptic and individualistic reaction to the directive legalisms of the official Church.

It is now acknowledged that much of the New Testament was written within a context of apocalyptic or eschatological thought, in which the early Christian movement looked towards the imminent end (eschaton) of the present age and the breaking in of the new age (the Kingdom of God).

With the ecological crisis, the threat of nuclear war, and international monetary problems, everyone is thinking in apocalyptic terms — except the liberal, contented church, which long ago made its peace with the present and trusted in tomorrow.

The latter point would present no difficulties if the former point is to be granted, but there is a considerable body of opinion that Mark 13 is based upon a piece (or pieces) of Jewish apocalyptic and that v. 26 should be reckoned part of that Jewish Vorlage.

It's in this greyed - out, apocalyptic scenario that Bryan Singer's film lays out its basic plot line: with their backs against the wall in the present tense, the X-Men (or what's left of them following a series of Sentinel raids) opt to send Wolverine (Hugh Jackman)-- or at least his consciousness — back in time 50 years so that his younger self can try to alter this chronology — a scheme that nods to H.G. Wells and Harlan Ellison (as well as the X-Men comics series).

WHAT: After witnessing Earth's apocalyptic future, time traveler Rip Hunter (Arthur Darvill) assembles a group of heroes and villains from present day — including Atom (Brandon Routh), White Canary (Caity Lotz), Captain Cold (Wentworth Miller), Heat Wave (Dominic Purcell), the two halves of Firestorm, Dr. Martin Stein (Victor Garber) and Jefferson Jackson (Franz Drameh), and the newly resurrected Hawkgirl (Ciara Renee)-- to travel through time and stop the man responsible: immortal tyrant Vandal Savage (Casper Crump).

Anchored by Charlize Theron's emotionally raw performance as the fearless Imperator Furiosa, the movie flips the grim «one sad bro - dude wanders the scorched landscape» script of most apocalyptic narratives, instead presenting a vision of a fallen world where equality is still achievable through collaboration, trust, and heaps of scrap metal.

Reversion (Unrated) Apocalyptic sci - fi drama set in an altered City of Los Angeles where the past, present and future unfold simultaneously, and revolving around a black woman (Leslie Silva) struggling to remain faithful to her man (Jason Olive) in the wake of a genetic mutation which has left her with a lack of morality.