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And such an idea culminates in the book's final section, in which the poet grapples with the very earthliness of Christ.
But one should not be fooled by the feminine earthliness of the place, for so much undercurrents of virile power will be flooding this family.
I would say it is their earthliness and earthiness, even as they sacralize the dailiness of life alone or with others, a life of the mind and body in an ongoing harmony with the seasons.
I then explore what it would mean for mission theology to turn to God in creation, moving from a dominating to a kenotic "down to earth" missiology that is rooted in the earthliness of creation, there finding God's grace and healing.
What I've always admired about Judaism is its worldliness, its earthliness, its impatience with metaphysical questions about God's existence and the afterlife, which has always struck me as a realistic assessment of the limits of human understanding.
The (hypothetical) movement from the comb to the moon, however, is immediately reversed and cancelled in the falling star, as well as in the characterization of the moon as "impietrita/nei rami," and in the reinforced sense of the distance between the woman ("lontana") and "queste / rive." (27) The contrast between the previous luminosity and the present "earthliness" associated with the woman--"un tempo smarrita ora gia segui / per vie d'orme terrene il tuo celeste"--is even more pronounced in the earlier version of the poeta published in Campo di Marte, which has diffusa rather than smarrita.
Also, see Donald Hawes, "Thackeray and French Literature in Perspective," Studies in the Novel 13 (1981), and more recently Gowan Dawson, "Intrinsic Earthliness: Science, Materialism, and the Fleshly School of Poetry," VP 41 (2003): 126.
For Mukai, the three "study" tales of painted portraits she examines in the first chapter "represent Hawthorne's early view of art." They illuminate the major themes of his art, its central antitheses: "humanity and art, reality and imagination, love and loneliness, mortality and immortality, ideal and earthliness, perfection and imperfection, evanescence and eternity, good and evil, sanity and insanity"; "he acknowledges artists as they are and views their faults and humanity with empathy" (24).
In not noticing the material element (because the artwork has concealed or disguised them), Young says, "art can sometimes be in this respect similar to equipment." But it is exactly for this reason, I have argued, and exactly to this extent, that--should it be successful in its concealment or disguise of all "earthliness"--the work or object in question would not be art or is not being seen as art.