Thomas Tweed Space Analysis

In the city of Las Vegas, people go through the daily trails and tribulations that the city has to offer. People constantly on the go, worried about the collection of money, pollution filling our lungs and tackled with the constant worries of reality. Being in the city, it seems as there is no escape from the madness that is being offered. Surrounded by the man made building and artificial light that illuminates the struggle of these streets. Although, there is a place that offers freedom about fifteen minutes away from the cities madness. A place where the air is fresh, a place where gargantuan rocks act as buildings, a place where the sun, moon and stars are the source of light and a place that provides freedom from the worries of the city. This center of nature providing freedom from the busy city life is Red Rock Canyon. Red Rock Canyon as a space has a rhetorical significance as a location of freedom from city life with the multitude of space it provides. Red Rock Canyon serves as an example of space and place in rhetoric and also creates ties to visual rhetoric with the unique scenery and imagery being offered. In addition aspects of memory such as cultural memory and public memory can be connected to Red Rock.

In this paper I will explore how the project makes us think about the way we occupy space, how language can affect thought, and how challenging these social norms cause a disorientation that can be productive in challenging power and discourse.

Stephen Prothero’s “God Is Not One” is a survey of world religions, comprising vital information on a vast array of different sets of belief. As someone who has never studied religion before, nor belongs to a particular faith, the variability within these religions is staggering. One might be satisfied to define religion as “how a person goes about believing in God,” but soon finds that even that definition has its holes. Thankfully, “God Is Not One” does an amazing job of cluing its reader into the nuances that are sometimes forgotten about the religions it approaches.

The photograph enveloped me into a brief essence of sanctity in behalf of the articles surrounding the church. The placement of everything in the picture seemed so perfect that I believed it had to have been artificial. The clouds draw the eye toward the tip of the spire where a cross sits, the building is standing on the highest elevation of earth—as if to reach the heavens, and all the more, the two largest

The deliberate layout of the park grounds, the trees, the fading noises, the shrine being made the destination to the foot traveller, the contrasting design. All aspects combine, inviting me to experience the peace and beauty of the grounds, with the shrine as centrepiece. A place of significance. A sense of place. How wrong my assumptions were. What I believed to be a cold, depressing place was indeed something different altogether once I physically experienced it.

William M. Tweed was head of the great dramas of the postbellum period, “Tweed Ring.” The group was composed of Tweed, Oakey Hall, Richard Connolly , and Peter Sweeny, among other people. Historians believe that between the 1860s and early 1870s the Tweed Ring defrauded the City of New York from anywhere between $50 million or $940 million in today's money and $100 million which is $1.8 billion in today’s standards.

In A Literature of Place the writer Lopez describes for us his vision and how his imagination was shaped by nature of water in a dry southern California valley. Lopez tells us how he believes the human imagination is shaped by architecture at the early stages of our lives. In the writing, he takes us on a visual journey through his description in writing of time and places for example, how he made you see southern California in his vivid view through just words. Lopez talks about the sound of the wind in the crown of eucalyptus trees, the sensation of sheen earth, mahogany and scarlet cloud piled above a field of alfalfa at dusk. Lopez explains why he feels language seemed so magical to him talking about the first

Modern society understands that the earth is round not flat, that it travels around the sun not the opposite, and that it’s spinning on its own axis. All these different beliefs are important in order to understand the ANE literature. As a result, this led the ANE to be primarily concerned about the role and function of material within the cosmic than mere existence. Unfortunately, this type of ideology that the earth is a flat disc, that gods’ spirits inhabit natural, man-made idols caused them to believe that the gods controlled the nature according to their function and place in time and space. As for an example, the stars, planets, moon, and sun were considered to be functioning in the same

According to Veli-Matti Kärkkäinen, “A lacuna in Christian theology is the forgetfulness of the cosmic dimensions.” That is, “In the biblical and patristic traditions, ‘cosmic’ Christologies and pneumatologies are present,” and the retrieval of tradition is “important both for the sake of interfaith hospitality and improving Christianity’s self-understanding” in interdisciplinary dialogue. Kärkkäinen points out that the cosmic Christology of the NT (John 1:1-14; Col. 1:15-19; Heb. 1:2-4) points to “the integral link between Christ’s role in creation and in reconciliation.” This universal Christology resonates with patristic theologies, but “unfortunately was by and large lost by the time of modern Classical Liberalism and its highly reductionist conception of Jesus merely as a ‘spiritual’ teacher of personal piety.” In the same vein, Christopher Knight also points out that for the patristic fathers, such as Clement of Alexandria, Origen, the Cappadocians, Maximos the Confessor, and many others, “The Logos in His kenosis, His self-emptying, is hidden everywhere, and the types of His reality, whether in the forms of persons or teachings, will not be the same outside the Christian world as they are within it.”

Mircea Eliade’s The Sacred and the Profane analyzes a wide variety of components that are found within various world religions. Eliade uses the history of religion to support his ideas as the the book itself is a brief introduction to religion as a whole, particulary the religions of primitive societies. Nonetheless, when looking to the past one can see that mankind’s desire to associate itself with the sacred has been occuring for thousands of years. From temples to passages of intiation, religious man is a unique microcosm that follows and repeats the structure of the religious macrocosm, the creation of the cosmos. One can conclude that Eliade views religion as the “paradigmatic solution for every existential crisis.” (p210) and

One of the earliest evidences of the belief in a higher power comes from deep within the “Lascaux Labyrinth”, a deep cave “decorated by our Paleolithic ancestors in the stone age, seventeen thousand years ago”(Armstrong 2). The great numbers and locations of art within the Lascaux and surrounding region gives evidence that these were sacred places for the purpose of rituals, and some have compared these dwellings to temples (Armstrong 3). Whether art within cave dwellings dating back to the Paleolithic era, to magnificent churches rising to great heights around the world, the wondrous temples of the Mayans, a mountain that appears to seamlessly morph into the city of Machu Picchu, to trailers, tents and fortified compounds, belief in a power higher than one’s self has been deeply ingrained throughout centuries and a multitude of cultures. These different places are what many refer to as a church, a place to record and follow the rituals specific to their belief and to worship. Through the generations of the development of the human psyche, belief in a higher power is taught young and ingrained for many, yet meaningless for some. Furthermore, throughout the evolution of many centuries, it is inevitable that branches of these religions will follow a different path, create new churches to better practice their views of religion, and for some, belief in a higher power can be contorted to the preaching’s and worship of hate. There is a fine line between preaching scriptures and

A cathedral is known to be a place where a person performs religious practices in the light of one or more deities. Cathedrals can connect people who share the same beliefs by gathering them all together; the same goes for any religion. In the short story, “Cathedral,” written by Raymond Carver, the controlling image is a cathedral, as it is repetitive from becoming the title of the story to the main symbol through the entirety of the narration. Carver makes an appeal to emphasize that – through the story’s plot, his style of writing, the captivating use of imagery, and the overall theme of the story – a simple building can shed some light on how one chooses to view the world.

Those expensive or delicate images are less likely to be seen by the commoners and, therefore, less likely to be claimed miraculous by large groups. The commoners and large groups often never witness the religious images in wealthy families’ chapels. Miraculous images appear in the main thoroughfares surrounding a church or the main hallways of the church. The commoners pass imposing churches and cathedrals daily, and the buildings and their artwork are likely to become landmarks. Kevin Lynch’s ideas of landmarks best describe the importance of this designation. A landmark is memorable in distinction and importance to an observer, and this memory will add to the description of a community to an outsider. A religious image as a landmark becomes an interconnected symbol of the city or particular social group. Religious images at intersecting points or entrances are also likely to be nodes, an even more important aspect of space described by Lynch. Nodes were locations of decision-making. Worshippers pause at intersections of streets or of church hallways to remember a purpose or location. Miraculous images at nodes were subject to both religious and personal reflection. This personal reflection on the miraculous images and the group reflection of image cults help to form the identities of the plebeian worshippers. The reactions of corporate identities have further complications for the

The haunting melodies of evening prayer soon began to drift across space and time from the many mosques just beyond the hills. I closed my eyes and breathed deeply, reliving the moments that got me to this place. I was halfway across the world, alone in my thoughts, and in a land that once seemed so distant. The sound of water rained from the shower and the music of religion wafted through the air as the sun began to let out its final gasp. For the first time all day I was alone—seemingly at peace.

Even though religion has evolved throughout the years, the way in which religions are formed has not changed. Through every religion, there comes a story, or a myth, a society and experience, rituals, a doctrine, and ethnics. These are the six dimensions that form a religion. In this essay, I will utilize the Buddhist 1994 movie of The Tibetan Book of the Dead: The Great Liberation to analyze and explain how Buddhism calls for the unity of these six dimensions in order to form a religion.