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The Mythological Traditions of Liturgical Drama by Christine Schnusenberg Pdf
This unique, comprehensive work tackles questions posed by the polemics of the Church Fathers against the Roman theater and explores the subsequent developments of Western liturgical drama as a continuation of the Roman theater up to the time of Amalarius of Metz in the ninth century.
Glimpses of the New Creation by W. David O. Taylor,Jeremy Begbie Pdf
How do the arts in worship form individuals and communities? Every choice of art in worship opens up and closes down possibilities for the formation of our humanity. Every practice of music, every decision about language, every use of our bodies, every approach to visual media or church buildings forms our desires, shapes our imaginations, habituates our emotional instincts, and reconfigures our identity as Christians in contextually meaningful ways, generating thereby a sense of the triune God and of our place in the world. Glimpses of the New Creation argues that the arts form us in worship by bringing us into intentional and intensive participation in the aesthetic aspect of our humanity—that is, our physical, emotional, imaginative, and metaphorical capacities. In so doing they invite the people of God to be conformed to Christ and to participate in the praise of Christ and in the praise of creation, which by the Spirit’s power raises its peculiar voice to the Father in heaven, for the sake of the world that God so loves.
"In this volume, Christian, Jewish, and Samaritan liturgical poetry from Late Antiquity (ca. 3rd-4th c. CE) is examined not only from within the context of religious traditions of biblical interpretation and conventions of prayer but also through the lenses of performance, entertainment, and spectacle. Recognizing that liturgical poets were as invested engaging their listeners as orators and actors were, this study analyses hymnody as a performative genre akin to oratory and theatre, the two primary modes of public performance from the wider societal context. Attention to liturgical poetry's "theatricality" draws our attention to a range of subjects, from how biblical stories were adapted to the liturgical stage, much in the way that the classical works of Greco-Roman antiquity were themselves popularized in this Late Antique period; to the adaptation of physical techniques and material structures to augment the ability of performers to engage their audiences. Specific techniques associated with both oratory and acting in antiquity will offer concrete means for elucidating the affinities of liturgical presentations and other modes of performance: indications of direct address, for example, and apostrophe, as well as the creation of character through speech (ethopoeia); and appeals to the audience's senses, including vivid descriptions (ekphrasis), a technique especially popular in antiquity. A serious consideration of performance also demands that we make the difficult leap to imagining the world beyond the page. While Late Antique hymnody has come down to the present primarily in textual form, the written word constitutes something quite remote from the actual experience these scripts reflect. We will thus attempt to consider more speculative but recognizably essential elements of these works' reception, including ways in which liturgical poetry could have borrowed from the gestures and body language of oratory, mime, and pantomime, and how poets may have used the physical spaces of performance and accelerated changes visible in the archaeological record"--
Re-Appropriating 'Marvellous Fables' by Noel Wayne Pretila Pdf
Edwin Hatch provided a colourful portrait of the religious world to which Justin Martyr belonged: The main subject-matter of ... literary education [amongst the pagans] was the poets. ... They were read as we read the Bible. They were committed to memory. The minds of men were saturated with them. A quotation from Homer or from a tragic poet was apposite on all occasions and in every kind of society (The Influence of Greek Ideas on Christianity, 1957). So when some of these pagans converted to Christianity in Justin's day, is it reasonable to assume that they simply
Re-appropriating “Marvelous Fables” by Noël Pretila Pdf
Edwin Hatch provided a colorful portrait of the religious world to which Justin Martyr belonged: "The main subject-matter of . . . literary education [amongst the pagans] was the poets. . . . They were read as we read the Bible. They were committed to memory. The minds of men were saturated with them. A quotation from Homer or from a tragic poet was apposite on all occasions and in every kind of society" (The Influence of Greek Ideas on Christianity, 1957). So when some of these pagans converted to Christianity in Justin's day, is it reasonable to assume that they simply "forgot" these mythical narratives in which they had been reared from childhood? Re-appropriating "Marvelous Fables" sets out to argue that this was hardly the case. Rather, Justin in 1 Apology can be seen taking full advantage of this mythical framework that still loomed large in the minds of fledgling Christian believers and students in his care--masterfully re-appropriating this popular form of religious discourse for the purpose of solidifying their newfound faith.
Reading Religious Ritual with Ricoeur by Christina M. Gschwandtner Pdf
Reading Religious Ritual with Ricoeur: Between Fragility and Hope creates a dialogue between Ricœur’s hermeneutic philosophy and the interpretation of human ritual practices, especially as such practices are manifested within the context of Christian liturgy. In the first part of the book, Christina M. Gschwandtner shows that Ricœur’s account of religion would be deepened if it were to take into account not only the biblical texts but also forms of liturgical expression and ritual actions. She challenges Ricœur’s early reading of the symbol and second naïveté, broadens his interpretation of biblical texts and faith to consider religious actions more fully, and suggests that ritual can enhance human capacities. The second part of the book employs Ricœur’s hermeneutics in order to shed light on the analysis of liturgy, demonstrating that his accounts of truth, of the world of the text, of religious language, of the imagination, and of the formation of identity are all eminently applicable to liturgical experience. Reading Religious Ritual with Ricoeur shows that one of the most significant themes in Ricœur’s work—the tension between fragility and hope—is especially helpful for understanding what liturgy does and how it functions. Seeing how liturgy and ritual configure fragility and hope also enriches Ricœur’s account of the role and function of religion in human experience.
From the Ancient Near East to Christian Byzantium by Mario Baghos Pdf
This book combines concepts from the history of religions with Byzantine studies in its assessments of kings, symbols, and cities in a diachronic and cross-cultural analysis. The work attests, firstly, that the symbolic art and architecture of ancient cities—commissioned by their monarchs expressing their relationship with their gods—show us that religiosity was inherent to such enterprises. It also demonstrates that what transpired from the first cities in history to Byzantine Christendom is the gradual replacement of the pagan ruler cult—which was inherent to city-building in antiquity—with the ruler becoming subordinate to Christ; exemplified by representations of the latter as the ‘Master of All’ (Pantokrator). Beginning in Mesopotamia, the book continues with an analysis of city-building by rulers in Egypt, Greece, and Rome, before addressing Judaism (specifically, the city of Jerusalem) and Christianity as shifting the emphasis away from pagan-gods and rulers to monotheistic perceptions of God as elevated above worldly kings. It concludes with an assessment of Christian Rome and Constantinople as typifying the evolution from the ancient and classical world to Christendom.
The Revival of Atumism: The Ancient Egyptian Religion Part 1 by Mostafa Elshamy Pdf
The word Atumism derives from ‘Atum,’ the manifestation of the All-Lord in creating the sphere of earth and the creature Adam. The words ‘Atumian’ and ‘Atumianity,’ addressed here by the meaning of ‘Human’ and ‘Humanity,’ are derived from ‘Atum’ who is ‘Adam.’ In the Egyptian literature, there is a thin line that differentiates ‘Atum’ and ‘Atum.’ Why denominate the Egyptian Religion by the term “Atumism”? The answer is found in multitude of diverse notions embedded in the Egyptian speech and makes the term in its profoundness the most right for a religion that has been of divine revelation millennia ahead of A. D. This book is a fusion of the earlier research titled “Ancient Egypt: The Primal Age of Divine Revelation, Volume I and II.
Gnosticism is a countercultural spirituality that forever changed the practice of Christianity. Before it emerged in the second century, passage to the afterlife required obedience to God and king. Gnosticism proposed that human beings were manifestations of the divine, unsettling the hierarchical foundations of the ancient world. Subversive and revolutionary, Gnostics taught that prayer and mediation could bring human beings into an ecstatic spiritual union with a transcendent deity. This mystical strain affected not just Christianity but many other religions, and it characterizes our understanding of the purpose and meaning of religion today. In The Gnostic New Age, April D. DeConick recovers this vibrant underground history to prove that Gnosticism was not suppressed or defeated by the Catholic Church long ago, nor was the movement a fabrication to justify the violent repression of alternative forms of Christianity. Gnosticism alleviated human suffering, soothing feelings of existential brokenness and alienation through the promise of renewal as God. DeConick begins in ancient Egypt and follows with the rise of Gnosticism in the Middle Ages, the advent of theosophy and other occult movements in the nineteenth and early twentieth centuries, and contemporary New Age spiritual philosophies. As these theories find expression in science-fiction and fantasy films, DeConick sees evidence of Gnosticism's next incarnation. Her work emphasizes the universal, countercultural appeal of a movement that embodies much more than a simple challenge to religious authority.
Yves Bonnefoy and Jean-Luc Nancy by Emily McLaughlin Pdf
This volume explores how poets use different kinds of formal experimentation to change the way we think, and to allow us to try out new ways of perceiving existence and positioning ourselves within the world. Yves Bonnefoy and Jean-Luc Nancy: Ontological Performance examines the affinities that exist between Bonnefoy's poetry and Nancy's philosophy. It analyses how Bonnefoy experiments with the poem's act of address, its material disposition, and sonorous performance. It scrutinises how he foregrounds the bodily and material forces that are at play within language in order to makes us feel the diverse worldly forces that are active within us and to make us perceive our own human existence in more interconnected ways. Exploring how Bonnefoy and Nancy share the desire to resist detached ways of perceiving existence, this book analyses how they present interaction as the generative dynamic that drives all existence and use the text's resonant play to make us aware of how all bodies—human, material, or poetic—emerge from a complex interplay of worldly forces.
Russia's Theatrical Past by Claudia R. Jensen,Ingrid Maier,Stepan Shamin,Daniel C. Waugh Pdf
In the 17th century, only Moscow's elite had access to the magical, vibrant world of the theater. In Russia's Theatrical Past, Claudia Jensen, Ingrid Maier, Stepan Shamin, and Daniel C. Waugh mine Russian and Western archival sources to document the history of these productions as they developed at the court of the Russian tsar. Using such sources as European newspapers, diplomats' reports, foreign travel accounts, witness accounts, and payment records, they also uncover unique aspects of local culture and politics of the time. Focusing on Northern European theatrical traditions, the authors explore the concept of intertheater, which describes transmissions between performing traditions, and reveal how the Muscovite court's interest in theater and other musical entertainment was strongly influenced by diplomatic contacts. Russia's Theatrical Past, made possible by an international research collaborative, offers fresh insight into how and why Russians went to such great efforts to rapidly develop court theater in the 17th century.
