If the avant-garde imitates the processes of art, kitsch, wenow see, imitates its effects. The neatness of this antithesisis more than contrived; it corresponds to and defines the tremendousinterval that separates from each other two such simultaneouscultural phenomena as the avant-garde and kitsch. This interval,too great to be closed by all the infinite gradations of popularized"modernism" and "modernistic" kitsch, correspondsin turn to a social interval, a social interval that has alwaysexisted in formal culture, as elsewhere in civilized society,and whose two termini converge and diverge in fixed relation tothe increasing or decreasing stability of the given society. Therehas always been on one side the minority of the powerful -- andtherefore the cultivated -- and on the other the great mass ofthe exploited and poor -- and therefore the ignorant. Formal culturehas always belonged to the first, while the last have had to contentthemselves with folk or rudimentary culture, or kitsch.
I believe—though I seldom live up to it—that I live truly when I do not fear, that I find both reality and joy in losing myself in love. If love is reality, then it is love which binds me to other people and to God. Consequently, I am not the isolated individual the eye suggests, and spiritual growth is the growing awareness of the fact that I cannot plan my destiny, but that instead, I must progressively accept my membership within the community—or as Whitehead would put it, “the organism of men and God whose service is perfect freedom.”
Journey with Jesus - Send Her Away!
All values are human values, relative values, in art as wellas elsewhere. Yet there does seem to have been more or less ofa general agreement among the cultivated of mankind over the agesas to what is good art and what bad. Taste has varied, but notbeyond certain limits; contemporary connoisseurs agree with theeighteenth-century Japanese that Hokusai was one of the greatestartists of his time; we even agree with the ancient Egyptiansthat Third and Fourth Dynasty art was the most worthy of beingselected as their paragon by those who came after. We may havecome to prefer Giotto to Raphael, but we still do not deny thatRaphael was one of the best painters of his time. There has beenan agreement then, and this agreement rests, I believe, on a fairlyconstant distinction made between those values only to be foundin art and the values which can be found elsewhere. Kitsch, byvirtue of a rationalized technique that draws on science and industry,has erased this distinction in practice.
What are Donald Trump's religious beliefs? - CNNPolitics
Is John's arrival at the empty tomb before Peter supposed to symbolize that youth will be the first to believe before their elders? Is the head cloth supposed to tell us that the head is the most important part of the body, or that religious evidence must be considered by our brains? Are women supposed to be the first witnesses or believers in Jesus in a society, or the first missionaries in a new region? Is the risen Savior too holy or exalted to touch?
Read about the faith of Hillary Clinton here
In conclusion, the suggestion that the resurrection story is supposed to be symbolic only is simply without merit. I suppose there are actual people who hold this view - I suggest that they have not examined the Biblical text closely. Until someone comes up with a plausible symbolic meaning for all the details, the suggestion must be considered frivolous.
The virgin birth of Jesus: Fact or fable?
If the account of Jesus' resurrection is to be understood as a literary device, then , not just the torn curtain! detail must mean something or the author would not have included it. Furthermore, those symbolic meanings must be consistent with the themes of the rest of the New Testament.