(Not Your) Grandpa’s Church Service: Pyrotheology’s Familial Resemblance to Liberal Theology and the Possibilities for Political Liturgy

2016 ◽  
Vol 57 (4) ◽  
pp. 349-361
Author(s):  
Keegan Osinski
1913 ◽  
Vol 8 (4) ◽  
pp. 403-405
Author(s):  
Byron DeMent
Keyword(s):  

2020 ◽  
Vol 58 ◽  
pp. 293-317
Author(s):  
Protopriest Alexander Romanchuk

The article studies the system of pre-conditions that caused the onset of the uniat clergy’s movement towards Orthodoxy in the Russian Empire in the beginning of the 19th century. The author comes to the conclusion that the tendency of the uniat clergy going back to Orthodoxy was the result of certain historic conditions, such as: 1) constant changes in the government policy during the reign of Emperor Pavel I and Emperor Alexander I; 2) increasing latinization of the uniat church service after 1797 and Latin proselytism that were the result of the distrust of the uniats on the part of Roman curia and representatives of Polish Catholic Church of Latin church service; 3) ecclesiastical contradictions made at the Brest Church Union conclusion; 4) division of the uniat clergy into discordant groups and the increase of their opposition to each other on the issue of latinization in the first decades of the 19th century. The combination of those conditions was a unique phenomenon that never repeated itself anywhere.


Author(s):  
Harry White

The Musical Discourse of Servitude examines the music of Johann Joseph Fux (ca. 1660–1741) in relation to that of Johann Sebastian Bach and George Frideric Handel. Its principal argument is that Fux’s long indenture as a composer of church music in Vienna gains in meaning (and cultural significance) when situated along an axis that runs between the liturgical servitude of writing music for the imperial court service and the autonomy of musical imagination which transpires in the late works of Bach and Handel. To this end, The Musical Discourse of Servitude constructs a typology of the late Baroque musical imagination which draws Fux, Bach, and Handel into the orbit of North Italian compositional practice. This typology depends on two primary concepts, both of which derive and dissent from Lydia Goehr’s formulation of the “work-concept” in The Imaginary Museum of Musical Works (1992), namely, the “authority concept” and a revised reading of the “work-concept” itself. Both concepts are engaged through the agency of two musical genres—the oratorio and the Mass ordinary—which Fux shared with Handel and Bach respectively. These genres functioned as conservative norms in Fux’s music (most of Fux’s working life was spent in writing for the church service), but they are very differently engaged by Bach and Handel. To establish a continuity between Fux, Bach and Handel, and between the servitude of common practice and the emerging autonomy of a work-based practice in the early eighteenth-century musical imagination are the principal objectives of this study.


2002 ◽  
Vol 114 (2) ◽  
pp. 68-69
Author(s):  
Martin Camroux
Keyword(s):  

1914 ◽  
Vol 7 (4) ◽  
pp. 538-594
Author(s):  
Benjamin B. Warfield

In a recent number of The Harvard Theological Review, Professor Douglas Clyde Macintosh of the Yale Divinity School outlines in a very interesting manner the religious system to which he gives his adherence. For “substance of doctrine” (to use a form of speech formerly quite familiar at New Haven) this religious system does not differ markedly from what is usually taught in the circles of the so-called “Liberal Theology.” Professor Macintosh has, however, his own way of construing and phrasing the common “Liberal” teaching; and his own way of construing and phrasing it presents a number of features which invite comment. It is tempting to turn aside to enumerate some of these, and perhaps to offer some remarks upon them. As we must make a selection, however, it seems best to confine ourselves to what appears on the face of it to be the most remarkable thing in Professor Macintosh's representations. This is his disposition to retain for his religious system the historical name of Christianity, although it utterly repudiates the cross of Christ, and in fact feels itself (in case of need) quite able to get along without even the person of Christ. A “new Christianity,” he is willing, to be sure, to allow that it is—a “new Christianity for which the world is waiting”; and as such he is perhaps something more than willing to separate it from what he varyingly speaks of as “the older Christianity,” “actual Christianity,” “historic Christianity,” “actual, historical Christianity.” He strenuously claims for it, nevertheless, the right to call itself by the name of “Christianity.”


Author(s):  
Gary Dorrien

The generation of black social gospel leaders who began their careers in the 1920s assumed the social justice politics and liberal theology of the social gospel from the beginning of their careers. Mordecai Johnson became the leading example by espousing racial justice militancy, Christian socialism, Gandhian revolutionary internationalism, and anti-anti-Communism as the long-time (and long embattled) president of Howard University


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