Constructive Criticism Famous Quotes

Constructive criticism is as important as praise from the people in your life.

Moreover, it is not just that the early documents are silent about so much of Jesus that came to be recorded in the gospels, but that they view him in a substantially different way -- as a basically supernatural personage only obscurely on Earth as a man at some unspecified period in the past, 'emptied' then of all his supernatural attributes (Phil.2:7), and certainly not a worker of prodigious miracles which made him famous throughout 'all Syria' (Mt.4:24). I have argued that there is good reason to believe that the Jesus of Paul was constructed largely from musing and reflecting on a supernatural 'Wisdom' figure, amply documented in the earlier Jewish literature, who sought an abode on Earth, but was there rejected, rather than from information concerning a recently deceased historical individual. The influence of the Wisdom literature is undeniable; only assessment of what it amounted to still divides opinion.

In the Roman psyche the East had long been a place of danger, but also a place of plenty. The first Emperor Augustus famously said of Rome that he found a city built in brick but left it in marble – all that money had to come from somewhere. India was repeatedly described in Roman sources as a land of unimaginable wealth. Pliny the Elder complained that the Roman taste for exotic silks, perfumes and pearls consumed the city. ‘India and China [and Arabia] together drain our Empire. That is the price that our luxuries and our womankind cost us.’ It was the construction of the Via Egnatia and attendant road-systems that physically allowed Rome to expand eastwards, while the capture of Egypt intensified this magnetic pull. Rome had got the oriental bug, and Byzantium, entering into a truce with the Romans in 129 BC following the Roman victory in the Macedonian Wars that kick-started Gnaeus Egnatius’ construction of the Via Egnatia, was a critical and vital destination before all longer Asian journeys began.

Inside ‘Hezekiah’s Tunnel’ in Jerusalem was the famous ‘Siloam Inscription’ describing the tunnel’s construction (see ‘Jerusalem in the 1st Millennium BCE’). Approximately contemporary was the inscription carved into the lintel of a rock-cut tomb at Silwan (Siloam), overlooking the Kidron valley and Jerusalem. The damaged inscription suggested that the tomb was that of someone whose name ended-yahu (usually anglicized as-iah in personal names) and who was (literally) ‘over the house’, that is, a steward. In Isaiah 22: 15–16, this precise description (NRSV ‘master of the household’) is used of the royal steward Shebna, who is criticized for ‘cutting a tomb on the height’.

The emergency provision of the Weimar constitution was, of course, the famous article 48. Inasmuch as Schmitt's focus in Political Theology is on the theory of sovereignty, we must tum to his other writings for an appreciation of how he translated his theoretical construction into concrete terms. Mindful of how easily an emergency provision such as article 48 could be abused, Schmitt published a comprehensive study of dictatorship shortly before the appearance of Political Theology. There he traced the history of dictatorship and concluded that it can be categorized into two forms: commissarial and sovereign. A sovereign dictatorship utilizes a crisis to abrogate the existing constitution in order to bring about a "condition whereby a constitution [that the sovereign dictator] considers to be a true constitution will become possible," whereas a commissarial dictatorship endeavors to restore order so that the existing constitution can be revived and allowed to function normally. Schmitt showed that article 48 accorded with the commissarial type of dictatorship, stressing the continuation of the Weimar constitutional order, critical interruptions notwithstanding.

In The Archangel Raphael Leaving Tobias' Family, Rembrandt leaves dirt on the shadowed soles of Raphael's feet as he flies off, illuminated in glory. Passing by the painting, one sees the dramatic action, the melodramatic emotions, and the re-created narrative events of the Bible. Slowed down a bit, the viewer sees light across a large muscular calf, a strong and sharply shaped ankle, and then dirty feet. The angel who tells us he only pretended to eat - this to explain away all traces of his apparent earthliness as a fallen creaturely being - is here on the canvas with dirty feet, carrying soil, the created, to the creator. Van Gogh had rightly said there are mysteries in these paintings. They are mysteries of device and design, not of messianic significance. They require a docent and not a priest, a creative critic to guide the view of specific images, not a guardian of mysteries and master of their enigmatic authority. Dirty feet on the soles of an archangel famous for his annunciations give the viewer a point of view on the inescapably human nature of the narrated God. Raphael may no eat. He may believe he creates an illusion to satisfy the religious desire for mythological consistency, but even archangels deceive themselves as well as others. Humans sometimes do the same in inventing the transcendence they need or think they want - creating a regime from which the priestly classes rule, even theorizing the alienation of the divine. Deceit is an essential device of cultural adaptation. It constructs needed beliefs that at high and low levels of thought or action complement their existence with modes of self-defense, which protect them from not only needed analysis but also the importance of failure.