Not exact matches
If this is true, then only the
vision of the eschatological banquet could be an image
of the good, whereas the image
of dying for the other — though it is the advent
of the good in fallen time — can not itself be the final good, without once more subordinating the
person to an impersonal totality, in this case an abstract moral principle.
I prefer a more primitive conception
of heaven, a heaven that is concrete,
peopled, concatenated, hierarchical and symphonic; as lush as the pure land
of the celestial Buddha Amitabha, as visceral as the Islamic garden
of the houris, as engrossing to an academic like me as the rabbinic
vision of heaven as a Talmudic house
of study, and as immediate as the paradise that Christ promised to the good thief
dying at his side.
After all, the team - oriented focus
of hospice — in which doctors, nurses, chaplains and social workers join forces together in caring for
dying persons and their families — draws its animating
vision from the Christian tradition.
For a fine exposition
of the process - relational
vision, appropriating the insights
of psychology, and concrete in its orientation, dealing with the issues
of death and
dying, loss and bereavement, see Kinast, Robert L., When a
Person Dies: Pastoral Theology in Death Experiences (New York: The Crossroad Publishing Company, 1984); also by the same author, an excellent delineation
of the major tenets
of process thought and process theology in particular, is «A Process Model
of Theological Reflection» The Journal
of Pastoral Care 37 (June, 1983), pp. 144 - 156.
With the support
of a few volunteers at the time that Neil
died, Cameron took on the challenge
of creating what NSF says was a
vision of «a time when technology would allow
people who just happened to be in wheelchairs to have the same choices, opportunities, and quality
of life as any other
person.»
In her book, The Top Five Regrets
of the
Dying, Bronnie Ware, a hospice nurse, writes
of the phenomenal clarity
of vision people gain on their deathbed.
With the possible exception
of WALL - E's depiction
of our planet as a depopulated trash heap, this is perhaps Pixar's bleakest
vision, a world in which one
dies not once but twice, the second time from a collective disregard for a
person's very existence.
He had had a
vision that he would
die soon, at the hands
of his own
people.
Doomsday handles it a little better, peppering the story with moments where Rufus seems to have learned from his future
visions, but ultimately by time the ending comes around it still doesn't feel like he's anywhere near being the kind
of person who would willingly
die to save everyone else, even his beloved Goal.