"Substantiality" Quotes from Famous Books
 ... plastic world and want to be aware of the depth in which the persons move, but our direct object of perception must be without the depth. That idea of space which forces on us most strongly the idea of heaviness, solidity and substantiality must be replaced by ...
— The Photoplay - A Psychological Study • Hugo Muensterberg
... substance of man is destroyed (substantiam hominis ablatam esse);" after the Fall original sin is the substance of man; man's nature is identical with sin; in conversion a new substance is created by God. In particular, the assertions concerning the substantiality of original sin gave rise to the so-called Flacian Controversy. After Strigel, at the second session of the disputation in Weimar, had dilated on the philosophical definitions of the terms "substance" and "accident" ("accidens, quod adest vel abest praeter subiecti corruptionem"), and had ...
— Historical Introductions to the Symbolical Books of the Evangelical Lutheran Church • Friedrich Bente
... tyat' (Taitt. Up. II, 6). And also in the section under discussion the passage 'Having entered into them with this living Self let me evolve names and forms,' shows that it is only through the entering into them of the living soul whose Self is Brahman, that all things possess their substantiality and their connexion with the words denoting them. And as this passage must be understood in connexion with Taitt. Up. II, 6 (where the 'sat' denotes the individual soul) it follows that the individual soul ...
— The Vedanta-Sutras with the Commentary by Ramanuja - Sacred Books of the East, Volume 48 • Trans. George Thibaut
... project to a distance eidola or phantasms of varying likeness to themselves: might not this be such a mocking phantasm of Julius? He drew his hand across his eyes, and looked again: the figure still sat there. He put out his hand to test its substantiality, and the voice cried in ...
— Master of His Fate • J. Mclaren Cobban
... fairs. The atmosphere of the compositions is so invariably sensational, the gesture so calculated, so theatrical, that much of the truly impressive material, the quantities of original ideas, lose all substantiality, and become indistinct components of these vast mountains of ennui, these wastes of rhetorical and bombastic instruments, these loud and prancing concertos of circus-music. There is something almost insulting to the intelligence in these over-emphasized works, these pretentious facades, these ...
— Musical Portraits - Interpretations of Twenty Modern Composers • Paul Rosenfeld
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