Virtual wine tastings ­– how to ‘zoom up’ the stage of communal experience

2021 ◽  
pp. 1-23
Author(s):  
Stefanie Paluch ◽  
Thomas Wittkop
Keyword(s):  
Author(s):  
Emma Mason

This chapter locates Rossetti in the context of the book’s ecotheological argument, which traces an ecological love command in her writing through her engagement with Tractarianism, the Pre-Raphaelite Brotherhood, the Church Fathers, and Francis of Assisi. It establishes her Anglo-Catholic imagining of the cosmos as a fabric of participation and communal experience embodied in Christ. The first section reads Rossetti in the context of current Victorian ecocriticism, which underplays the role of Christianity in the development of nineteenth-century environmentalism. The next sections question critical readings of Rossetti as a reclusive thinker and argue instead for an educated and politicized Christian for whom indifference to the spiritual is complicit with an environmental crisis in which the weak and vulnerable suffer most. This introduction also refers to the wider field of Rossetti studies and introduces her reading of grace and apocalypse as a major contribution to the intradiscipline of Christianity and ecology.


Author(s):  
Angela Kallhoff

Even though the concept of natural heritage is well received, its meaning is usually restricted to extraordinary natural sites. This contribution argues that a broader understanding is necessary in order to fully acknowledge the intergenerational value of natural heritage. By drawing on recent insights in plant ethics, three facets of the normative meaning of the concept of natural heritage can be highlighted: It expresses the value of natural sites as part of human civilization, it lays emphasis on the uniqueness of distinct parts of nature, and it expresses the willingness of present generations to present nature as a gift to future generations in order not to restrict their ways to shape nature. In particular, the value of natural heritage is constituted by a communal experience of nature and the willingness to share that experience with upcoming generations.


Worldview ◽  
1979 ◽  
Vol 22 (9) ◽  
pp. 40-45
Author(s):  
Richard John Neuhaus

The law is not like life. Therein lies its utility and even its majesty. The law is not like life. Therein lies its weakness and even its danger. To be sure, the law is part of life; it is part of that communal experience we call history, including this present moment. Law itself, as we shall emphasize, has a history. And yet, when we speak of "the law," we imply that it is something distinct from ordinary experience. It has a normative status by which we order, remedy, and judge the interactions that make up what we call "life."


1979 ◽  
Vol 36 (3) ◽  
pp. 353-367
Author(s):  
Bernard J. Cooke

“It is probably safe to say that theology will utilize religious experience as a starting-point even more than it has done in the past two decades. This will mean that the development of ecclesiology will spring from careful reflection upon the communal experience of Christians, upon their shared awareness of what it means to be the church, upon the manifestations of the Spirit as prophetic and life-giving. This will not be an entirely new approach for ecclesiology; what will be new will be some of the experiences shared in tomorrow's church.”


2019 ◽  
Vol 72 (1) ◽  
pp. 181-243 ◽  
Author(s):  
Braxton D. Shelley

This article presents an analytical paradigm that employs the repetitive musical cycle known as “the vamp” to illuminate the interrelation of form, experience, and meaning in African American gospel music, focusing on music performed by gospel choirs with soloists. I argue that, more than just a ubiquitous musical procedure, the gospel vamp functions as a ritual technology, a resource many African American Christians use to experience with their bodies what they believe in their hearts. As they perform and perceive the gospel vamp's characteristic combination of repetition and escalation, these believers coproduce sonic environments that facilitate the communal experience of a given song's textual message. Through close readings of four canonical songs from the gospel choir repertoire—Kurt Carr's “For Every Mountain,” Brenda Joyce Moore's “Perfect Praise,” Richard Smallwood's “I Will Sing Praises,” and Thomas Whitfield's “I Shall Wear a Crown”—the article examines the phenomenological implications of gospel's communal orientation, outlines the relationship between musical syntax, musical experience, formal convention, and lyrical content in this genre, and suggests that analyzing gospel offers a way of studying how many black Christians come into contact with the invisible subjects of their belief.


1997 ◽  
Vol 14 (1) ◽  
pp. 64-83
Author(s):  
James C. Okoye

AbstractIn this article James C. Okoye first speaks about inculturation as the mutual transformation of culture and understandings of the gospel. He then outlines some aspects of the inculturation process as it has been employed in Africa in the last four decades.. In a brief historical overview, Okoye speaks of three stages of inculturation in Africa: the stage of indigenization and adaptation, the stage of inculturation and liberation and the stage of contextualization. The rest of the article is devoted to outlining inculturation efforts in two crucial areas for African theology: salvation and christology. Salvation for Africans is more physical and ecclesial than spiritual and individualistic. A plurality of christological approaches exist in African and perhaps can be characterized as comparative, as systematic, as formed by the theology of liberation, and as arising from communal experience. Professor Okoye concludes with a brief overview of the Kairos Document from South Africa.


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