We are to deal with the key problem of how to talk about God, as this issue is illuminated by our understanding of how
religious language works.
(See ibid., p. 200) It is this process which makes religious language essential, and to understand the process we need to understand how
religious language works.
Not exact matches
David Tracy's
work (1975) has focused our attention on
religious language.
When I reflect on the infinite pains to which the human mind and heart will go in order to protect itself from the full impact of reality, when I recall the mordant analyses of
religious belief which stem from the
works of Karl Marx and Sigmund Freud and, furthermore, recognize the truth of so much of what these critics of religion have had to say, when I engage in a philosophical critique of the
language of theology and am constrained to admit that it is a continual attempt to say what can not properly be said and am thereby led to wonder whether its claim to cognition can possibly be valid — when I ask these questions of myself and others like them (as I can not help asking and, what is more, feel obliged to ask), is not the conclusion forced upon me that my faith is a delusion?
Consequently, many of us spent the next decade
working through an answer to the question of the meaning of
religious language in terms of ordinary experience, in terms of a «revision» or «re-presentation» of the Christian tradition «intelligible to modern minds,» and
worked on formulating an appropriate and strong political theology.
By
working out a neoclassical theory of nonliteral
religious discourse consistent with his neoclassical theism generally, he has not only overcome the notorious contradictions involved in classical theism's use of analogy and other modes of nonliteral
language, he has also given good reasons for thinking that our distinctively modern reflection about God results from two movements of thought, not simply from one.
But after years of
work on the poetic, metaphorical nature of
religious language (and hence its relative, constructive and necessarily changing character), and in view of feminism's critique of the hierarchical, dualistic nature of the
language of the Jewish and Christian traditions, my bonds to biblicism and the Barthian God loosened.
The story was old, the musical setting the
work of genius, but the music, at the time, was familiar; Bach employed scores of earlier hymns and even popular songs, and of course the
language was German, with the result that the average Protestant churchgoing listener had a new experience — the words and music of the time were recast to provide
religious relevance and meaning.
Above all, God is there, with the lures that augment this striving — in
religious language, God's grace is
working toward us, in us, for us, and with us.
We spent hours and hours and hours
working on the
language and drafting those
religious provisions and going back and forth.
With just one vote needed to secure a majority in the Republican - led Senate, legislators were
working to address senators»
religious freedom concerns by tweaking the
language of the bill, according to the Post.
Through our academic publishing program, we seek to meet the publication needs of the
religious studies academic community worldwide with
works on the Hebrew Bible and Hebrew
language, ancient Near Eastern studies and archaeology, New Testament and Greek
language, biblical theology, Judaism, patristics, church history, historical theology, practical theology, and religion and culture.
We have
worked with yoga teachers and trainers, holistic doctors and healers,
religious leaders, families for reunions and weddings, not - for - profit organizations, corporate leaders for team building, herbalists and botanists, photographers, educators,
language instructors, and others seeking a private rainforest retreat.
Though linked to their own times and places, such
works are also connected to larger questions of being in the world, questions that are primarily considered philosophical or
religious, linked to the
language and pursuit of the sublime.
Cerca Series: Mara De Luca Mara De Luca is a Los Angeles - based artist whose
work investigates the visual
language of abstract painting and its relationship to the promotion of political,
religious, and societal ideologies.
Looking to Brazilian folklore and Baroque
religious imagery, as well as Alchemical and Pagan symbols, Stephan has created his own unique
language and style which embraces his influences and lets them evolve naturally into his own autobiographical
work by combining them with his roots in urban art and Pop culture.
Cloud Nine finds its roots in the
religious art of Sassetta and Bernini, the bold and emotional
works of Gericault, Delacroix and Goya from the Romantic period, William Blake's paintings and prints from «Heaven & Hell», the «inner
language» of Clyfford Still's abstractions and the contemporary psychedelic & color field paintings of Philip Taffee, Bridget Riley and Tom Moody.
* S: (n) analogy (an inference that if things agree in some respects they probably agree in others) * S: (n) analogy (drawing a comparison in order to show a similarity in some respect) «the operation of a computer presents and interesting analogy to the
working of the brain»; «the models show by analogy how matter is built up» * S: (n) doctrine of analogy, analogy (the
religious belief that between creature and creator no similarity can be found so great but that the dissimilarity is always greater;
language can point in the right direction but any analogy between God and humans will always be inadequate)»
Cultural considerations for
working with diverse populations also may include
language barriers;
religious beliefs and family values; parenting practices; expectations and restrictions related to gender and age; concepts of health and illness; issues related to assimilation and cultural preservation; and attitudes toward women, children, and elders.
We recognise that Queensland is a culturally and linguistically diverse state and is continuously
working towards developing a quality service that is inclusive and sensitive to all Queenslanders regardless of their cultural,
language, ethnic or
religious background.
It covers Indigenous population structure and distribution; mobility; household composition;
language and
religious affiliation; education;
work; income; and housing and transport.
The characteristics include population structure and distribution; mobility; household composition;
language and
religious affiliation; education;
work; income; housing and transport; need for assistance with core activities; unpaid
work; and dwelling Internet connection.