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you know?” “God is hope. God is joy. God is energy. He arrived depressed, sick, bent over. He left upright, strong, an eagle. Not a kid any more. Here there is God, in Lahuaymarca. God has left San Pedro, I think forever.” “You’re not a true Christian either, son. So many years as a sacristan and you

In: Religion and the Arts

holding dawn in check,” he blesses the people moving “stiffly in the lamplight’s theatre”: Let them feel without alarm the camouflaged wings and God’s energy coiled up in the dark. In “C Major” ( The Half-Finished heaven , 1962) Tranströmer writes about a young man, who, after meeting his loved one, is

In: Religion and the Arts

, Durham’s nativities have only one each, and the beings do not fly. Their individuality and grounded-ness contract and intensify energy and focus, and this condensation resists charm: the artist’s figures are not sweet or comforting, but fierce and disorienting. Durham achieves these effects with his

In: Religion and the Arts

in a distinctively supernatural and meritorious form. In order to save and constitute these sublime energies, the power of the Incarnate Word penetrates matter itself” (30). Chardin encourages us to see divinity centered in all earthly human effort. Waugh demonstrates this idea in Charles Ryder who

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Words are really at quite a remove from the essential mystery; tone and color in themselves are the mystery. Klee , Diaries 393 The energy of sex transfigured … may become a source of creativeness and inspiration … Love is not merely a fount of creativeness but is

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, but it is not a pigment and its colour is only one quality out of many, like a hand has a colour, or blood is red but it is not a red liquid, and milk is white, but it is not a white liquid. It is the difference between a blue pigment and the sky . . . These materials have incredible energies and

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energy from the turgid waters of life. Narendra, soon to be renamed Swami Vivekananda, was certain this crazy man was about to make an embarrassing scene. Here is Vivekananda’s account of what happened next: As I was thinking this, he quickly approached me and placed his own right foot on my body, and

In: Religion and the Arts

wonderstruck by contemplating, through your Energy the ever new and varied condi- tions of the world picture? (verse 80) Th is positive view of the variegated multiplicity of universal forms is not only implicitly but even explicitly the basis of aesthetics: In this (stream) the knowledge that is produced is

In: Religion and the Arts

Grotowski 29). Grotowski was interested in seeing if the structure of a movement itself could have an objective and transformative effect on a performer, stimulating one to enter an organic stream of impulses. In Gurdjieff’s terms this could be called the ascending energy of the Ray of Creation, manifest

In: Religion and the Arts

’s methodology, which is advanced in New Historicism, with its focus on the circulation of social energies. While Lawrence’s observation is accurate, his reduction of New Historicism to a simple equation obscures the complexity of the approach because he neglects to discuss, in a significant manner, the real

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