Not exact matches
Once we accept that the
language of Genesis is
symbolic, then there is no difficulty in holding both what it really teaches about creation and what we have learned
from modern science.
It tells us that Jesus regarded it as a time of release
from normal religious obligations, a time of rejoicing, and since «in the
symbolic language of the East the wedding is the symbol of the day of salvation», (J Jeremias, Parables of Jesus [rev. ed., 1963], p. 117) a time of the enjoyment of the fruits of God's decisive activity on man's behalf.
The capacities for abstract reasoning,
symbolic language, self - and death - awareness set mankind apart
from the rest of the biological world.
But of course the creedal statement, hallowed as it is by centuries of use during the celebration of the Eucharist, can be understood only when it is seen as a combination of supposedly historical data, theological affirmation put in a quasi-philosophical idiom, and a good deal of
symbolic language (with the use of such phrases as «came down
from heaven», «ascended into heaven», and the like).
This makes no sense
from the viewpoint of
symbolic language, but fits with the social function of presymbolic
language which is social cohesion, (84).
The source of these difficulties, I believe, is his theory of analogy, the attempt, in connection with his neoclassical theory of religious
language, to establish a third stratum of meaning, or set of concepts and terms, distinct both
from the set of plainly formal, strictly literal concepts and terms, on the one hand, and
from the set of plainly material, merely
symbolic or metaphorical concepts and terms, on the other.
Hopewell had pursued his fascination with the congregation through a yearlong examination of a local United Methodist and a local Baptist congregation, and arrived in Indiana that fall with a presentation woven of insights about the two churches drawn
from fields as diverse as history, economics, statistics and sociology, with particular emphasis on literary analysis,
symbolic language, anthropology and mythology.
The «
symbolic» nature of sense perception and experience prevents the ontological fullness of being
from being captured by either
language or philosophy.
The manner in which religious consciousness expresses its intimation of such an ultimate context of meaning is primarily through
symbolic and mythic modes of thought and
language which differ
from culture to culture.
An explicit opt - out
from that
language would be a
symbolic gesture for the Government to bring back
from its renegotiation.
The acquisition of
language and the capacity for
symbolic art may lie at the very heart of the extraordinary cognitive abilities that set us apart
from the rest of creation
Apparently, pigs have excellent long - term memories, can comprehend and learn a
symbolic language, and live in social communities where they learn
from each other.
The exhibition's chronological installation brings to light intriguing parallels between these three time periods, revealing dynamic through - threads within the artistic depiction of identity
from 1912 to the present, such as the turn to
language,
symbolic attributes, and the metaphorical significance of color and form.
The exhibition's chronological installation reveals intriguing parallels between these three time periods, revealing dynamic through - threads within the artistic depiction of identity
from 1912 to the present, such as the turn to
language,
symbolic attributes, and the metaphorical significance of color and form.
Exhibiting internationally since the early 1990s, Suzanne McClelland's practice includes both large - scale paintings and works on paper, often extracting fragments of speech or text
from various political and cultural sources and exploring the
symbolic and material possibilities that reside within
language.
Throughout his career, he created a unique and
symbolic language aimed at eliciting a subjective, emotional experience within the viewer, as well as a transcendent escape
from political and societal realities.
Her practice includes both large - scale paintings and works on paper, often extracting fragments of speech or text
from various political and cultural sources and exploring the
symbolic and material possibilities that reside within
language.
The subsequent development of McLuckie's distinctive, obsessive and
symbolic visual
language is adopted
from the disciplines of rudimentary craft and self - taught bead - work, and he equates its process - driven nature to seasonality, cycles and attendant fertility rituals.
The main influences came
from his contemporaries Joseph Beuys and Georg Baselitz, postwar tendencies in Abstract Expressionism and Conceptual art, but Kiefer is most regarded as an exponent of the Neo-Expressionism derived
from Minimalism and abstraction, advocating representational and
symbolic visual
language.
In Barrada's work, politics is inseparable
from an attention to form, as in several works where written
language is replaced by a
symbolic logic.
Picasso had pulled back
from abstraction after Synthetic Cubism, Mondrian had left us in a cold white light; Miró was still painting in his own wonderful private
symbolic language and Matisse had died leaving the doors open to abstraction with his paper cut - outs.
Over the course of his career Terry Winters has expanded the concerns of abstract art, beginning with botanically inspired images (cells, spores, seeds) and going on to explore biological processes, scientific and mathematical fields, and issues raised by the interaction of information technologies and the human mind, while maintaining a strong modernist sensibility that reveals itself in the
symbolic languages of figures and lines he develops in his work Winters (born 1949) received a BFA
from Pratt University, New York, in 1971.
Unlike Richter and other better - known contemporaries such as his friend George Baselitz, he stayed far longer in East Germany, developing away
from western influence a faux - naïf
language, at once
symbolic and abstract, that addressed the experience of zero - hour Germany with utter individuality.
Exhibiting internationally since the early 1990s, Suzanne McClelland's practice includes both large - scale paintings and works on paper, often extracting fragments of speech or text
from various political and cultural sources, exploring the
symbolic and material possibilities that reside within
language.
Featuring around 100 works
from public and private collections, as well as international museums, the exhibition titled The Alphabet will celebrate the artist's systematic
symbolic language we came to love oh so much.
Seemingly behaving according to a
symbolic language of their own, they pose alone or interact in communal dances, with some figures holding torches and others exposed naked
from the waist down.